FMF Episode #57 – Radio

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DJ: Don’t touch that dial! We’re about to get real wavy in here! Hello everyone and welcome to another round of Feel Me Flow. Today we’re digging into the medium that broadcasts our favorite sounds – radio. Radio technology has been around since the 19th century and to this day is still used in it’s most basic form – broadcasting radio waves via transmitters to receivers all across the globe. Although, these days we have this thing called the internet which basically does away with the old AM/FM signals and streams via the online connection.

As I’m sure you’re about to call in and tell us, there are a bazillion radio songs, most of which we didn’t put on this list. We wanted to dig a little deeper and try to showcase some “radio” songs you might not have heard yet. Sure, you’ll hear a few staples, but let’s get it going and see what we hear!

First up is a tribute to the song that kicked off MTV. The Buggles, which we’ll hear a little later. Joyce Manor’s 2012 LP Of All Things I Will Soon Grow Tired borrows elements from the legendary Germs’ blue circle logo and font. The music itself also borrows from Germs elements, though more in the vein of new age punk rock then the early 80s sloppy punk that was The Germs. We lost Germs bassist Lorna Doom in 2019 to cancer, and the infamous Darby Crash took his own life in 1980. As for Joyce Manor, their 2018 release Million Dollars To Kill Me was named after Travis Barker’s memoir Can I Say in which Travis recounts offering a friend a million bucks to end his suffering after his horrific 2008 plane crash that injured him and DJAM as well as killing the rest of the entourage on board. DJAM died from an overdose the following year. Are you bummed out yet about the deaths of these radio stars? You should be, cuz it’s sad as hell. Anyway, here is Joyce Manor doing “Video Killed The Radio Star” do lift us up a bit and start off our Radio episode!

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DJ: Austin, Texas’ Spoon have been locked in indie rock legacy ever since the turn of the century, but it was probably thanks to some mid-to-late-90s solid releases that helped them climb there. The band’s sophomore effort A Series Of Sneaks was at the time met with flat acceptance, but since has grown into a cult classic of an album. Just goes to show you how some bands are ahead of their time and in the words of Marty McFly, “I guess you guys aren’t ready for that yet…but your kids are gonna love it.

Washington D.C. native Mary Timony released her third solo LP Ex Hex way back in 2005 on the legendary Lookout! Records, but would take the album title and form a band under the moniker almost ten years later. Rather than the dark sounds of her solo work, the new Ex Hex channels the Pacific Northwest punk rock sounds of Sleater-Kinney, which makes sense. Mary was apart of the Carrie Brownstein/Janet Weiss side project Wild Flag. Ex Hex has a new LP coming out on March 22, 2019, so keep an eye out for that. We played a cut from the Ex Hex 2014 debut, though, with “Radio On”.

Speaking of the PNW, the reunion of Bikini Kill has people all riled up – whether it be positively or negatively. Of course, you’ve got your shit talkers like Courtney Love who has been feuding with the band since the mid-90s, but most people are ecstatic to have a chance at seeing the band again. Though their Hollywood Palladium shows sold out in minutes and resale prices were up immediately at staggeringly high ($300+) ticket prices. From 1993’s New Radio single, we played the title track, a lyrical force of sexuality and rebellion.

And one of the more famous acts of rebellion in live music may have been when Elvis Costello stopped his band 10 seconds into “Less Than Zero” to change tunes and sing the anti-corporate radio anthem “Radio, Radio”. Lorne Michaels was not amused and banned Elvis from Saturday Night Live. K, Lorne. 

Coming up in our next set we have The Shazam. Little Steven’s Underground Garage named this song their “Coolest Song Of The Week” back in 2006, though the song was actually released in 2000.  Little Steven called it the “coolest fucking thing (he’s) heard in 20 years”. The song is super legit, but to say that about the decades 1980-2000 seems a bit…irresponsible? Nevertheless, let’s get to it. Taken from The Shazam’s 2000 EP Rev9, named after the Beatles’ “Revolution 9” which the band covered on that EP, here’s “On The Airwaves”.

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DJ: Jonny Greenwood’s playing behind us right now, member of Radiohead and soundtrack extraordinaire. Radiohead, of course, took their name from the Talking Heads song we just heard, which itself is featured on a soundtrack…sort of. David Byrne directed and starred in the feature film True Stories, along with John Goodman and Swoosie Kurtz.  Talking Heads re-recorded studio versions of the songs they played in the film and released the album True Stories to coincide with the movie. There was also a different soundtrack album released with various artists like Terry Allen & The Panhandler Mystery Band and Steve Jordan on it. Steve played the accordion on “Radio Head”.

The Ramones questioned our memories of the days of old when rock and roll ruled the radio. The imagery of ” lying in bed with your covers pulled up over your head, radio playin’ so no one can see.” is just so perfect for the age of great radio.  How appropriate a song, too, being that the 1979 LP End Of The Century was produced by Phil Spector. Hear that Wall of Sound?

Osaka, Japan’s Shonen Knife formed roughly 6 months after the release of The Ramones’ following LP1981’s Pleasant Dreams. Shonen Knife’s debut release is an ultimate holy grail rare cassette-only album. Minna Tanoshiku was put out by the band in 1982 with some tape cases having the ban’ds lip prints on them, and only 50 made. They did a Ramones tribute album, Osaka Ramones to celebrate the band’s 30-year tenure which was released almost exactly 30 years after Pleasant Dreams.

The Vines timed their American debut juuuust right with the release of their 2001 debut LP Highly Evolved. Riding the garage rock wave created by The Strokes and The White Stripes and The Hives and The “The” bands alike, The Vines would hit it big with “Get Free”, a tune they completely demolished on the Late Show With David Letterman. When Craig Nicholls did a somersault after the first verse he knocked the guitar out of tune and oh boy did things fall apart after that! Awesome performance though. We played the first single off of their third album Vision Valley, “Don’t Listen To The Radio”.

Up next we have Brooklyn, New York band Nude Beach with the album opener off of their 2012 sophomore LP II. As the song is about to explain, sometimes there’s just not much worse than a radio playing a song you just don’t wanna hear. This was especially true in the days before the internet when you lived out in the sticks and could only get a few stations which were probably country or gospel, or the standard classic rock. Anyway, here’s one of Brooklyn’s best garage bands Nude Beach with “Radio”.

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DJ: Boulder, Colorado’s Zephyr launched the career Tommy Bolin, an guitar virtuoso who would go on to joined the James Gang and Deep Purple. Zephyr also featured the Givenses, David and Candy.  Tommy died early, at 25, in 1976 after a drug overdose. Sadly, Candy would also succumb to an O.D. in a jacuzzi in 1984. I used to work with someone who was apart of local Boulder scene in the 70s, and the rumor then was that since Candy was dead for so long in the hot bubbling water of the jacuzzi, the local paramedics had to remove her body in “clumps”. Yikes. His description was, “have you ever poached a chicken for too long?”.  How horrifically tragic. We heard both Tommy and Candy showcasing their abilities on “The Radio Song” from Zephyr’s sophomore LP, 1972’s Going Back To Colorado.

Bobby Bloom was another poor soul to meet an early, untimely death. At just age 28, Bobby was apparently cleaning his gun when it went off and shot him in the face, killing him instantly. The family didn’t believe it was a suicide and the case was closed. Bobby was famous for his own hit “Montego Bay”, along with co-writing many Kama Sutra releases such as “Mony Mony”. Early in his career though, he recorded under the moniker Bobby Man, and put out a single titled “Make The Radio A Little Louder”.

If you’re a bit older, you might remember Raphael Saadiq from his days with Tony! Toni! Toné!, more specifically him singing lead vocal on their smash hit “Feels Good”. Saadiq released two solo albums before changing his sound a bit and moving toward a more neo-retro-soul sound with The Way I See It. His fourth LP, Stone Rollin’ would continue this vibe, which gave us the twisty track “Radio”

Were you taken aback a bit hearing Smash Mouth on the show? I bet you didn’t know that’s who was playing when you heard it follow up that Nude Beach track. That’s because, as we’ve said before, Astro Lounge is a fantastic garage pop throwback album, albeit a bit overproduced and polished. If that LP had a bit more dust on its tape (and maybe remove “All Star”), I’m telling you, garage heads would’ve loved it! We played the deep cut “Radio” from that album.

We’ve got a super special Set 4 Score this week! Instead of showcasing newer great artists, we did some digging for a few old school punk rock tracks that you might not have heard before. Starting the set off is REM doing “Radio Free Europe” from 1983’s Murmur which is a lead-in to the four European punk rock bands that follow. We’ll talk a bit about them after the set, but for now let’s crank up the debut single from Athens, Georgia’s REM.  They played their debut on Letterman too, about 20 years prior to The Vines’ massacre of the set.

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DJ: The Cortinas were the Bristol, UK group that paired up nicely with The Clash in 1977, but were nowhere near as successful as them. Coincidentally, though, Cortinas guitarist Nick Sheppard would go on to play on The Clash’s Cut The Crap album after Mick Jones and Topper Headon were fired form the band. The Cortinas debut album signaled the end of them, however, with the band breaking up after its release. From that 1978 album True Romances, we played “Radio Rape”, a song about making love to the radio, but the band would mostly be known for their debut single “Fascist Dictator”.

The Kids, from Belgium, were another early punk rock band that are known for their anti-fascism anthem “Fascist Cops”. They released their debut self-titled album in 1978 on Dutch company Philips Records. Yes, that same Philips that made radios that you may well have played, or perhaps you’ve used their light bulbs? They’re sophomore release was also put out in 1978, from which we played “Radio Radio”.

Ivy Green were actually from the Netherlands where Philips Records was founded. They were one of the few Dutch punk bands to land a major record deal and released their self-titled debut on Pogo Records in 1978. The cut “Sex On The Radio”, another weird ode to aural love, is almost a note-for-note mimic of Black Flag’s “Black Coffee“, but that track didn’t come out for another 6 years. Coincidence or ripoff? You decide! Ivy Green was the name of Hellen Keller’s childhood home in Alabama.

And last but surely not least we have the British punk band The Carpettes. Their 1977 debut self-titled EP featured the track “Radio Wunderbar” and some issues of it list that as being the title of the EP. The Carpettes lasted all but four years before breaking up in 1981. They briefly reunited in 1996 and then again after the turn of the millennium eventually touring the USA in 2011. Nothing touches the greatness of that debut EP, though!

Alright, after a nice lofi punk set let’s hear a bit of polished alternative rock, or “false metal” maybe? Don’t worry, we’ll get back to the punx in a bit. Weezer did something a bit neat with the release of their odds and ends album Death To False Metal. Most of the album compiled some, well, odds and ends from their career, but the lead track “Turning Up The Radio” was actually composed by a plethora of contributing artists via back-and-forth collaboration on the YouTube. The song has 17 songwriter credits due to this. Fun! Here’s that Weezer tune before we jump back into the late ’70s England. I mean we can’t just mention the Clash and not play them…

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DJ: Ok, not gonna lie, that Euro punk set was just too much of a tease and we wanted a bit more. Ireland’s Stiff Little Finger nearly broke into the mainstream with their 1980 single “Straw Dogs” narrowly missing the Top of the Pops charts which is fairly ironic considering the b-side to “Straw Dogs” was the anti-mainstream radio anthem “You Can’t Say Crap On The Radio”, which borrowed the main riff from The Clash’s “Capital Radio” as a bit of an outro.

German psychobilly band Mad Sin contributed their version of Rancid’s legendary punk anthem “Radio” to the Hellcat Records, Tim Timebomb-sequenced Hooligans United: A Tribute To Rancid compilation, as well as our show.  That comp features some great takes on Rancid tunes, with some bands staying true to the songs and some taking them in an entirely new direction or language.  Psychobilly “Radio” works well, though!

Of course, we had to squish some Rancid in between a cover of them and their heroes – The Clash. When Rancid recorded their 2000 self-titled fifth album, they did it one full take. Well, two full times run-through, with the second take being used. I love that! It brought such a personal feel to the record, and when Tim sings the final lines of the album you can hear him “signing off” and thanking everyone for listening. “Radio Havana” was the longest song on the LP clocking in at 3:42.

The Clash’s debut EP was a jab at the radio industry released with an interview comprising most of the EP and the one song finishing it off. The only way to get this EP was to mail in a coupon printed in NME, plus the red sticker found on the band’s debut studio album The Clash which had been released just that week. After hearing that the EP was being sold for unbelievably high prices, they re-recorded the song and released “Capital Radio Two” on their 2nd EP The Cost Of LivingWe played the second version, as that’s the version that was added to their later compilations.

Speaking of early demos and rare recordings, have you ever listened to The Flaming Lips and thought, “Wow, what a great punk band!”? Chances are, no. After the ’90s were kind to their alternative rock style, the Lips turned full psychedelia and would become international superstars with their Soft Bulletin and Yoshimi Battles The Punk Robots albums. With the release of Scratching the Door: The First Recordings of the Flaming Lips, we finally got an official output of their first cassette demo. The only original song on the demo was “Killer On The Radio”, followed by a cover of the “Batman Theme”, The Who’s “Anyway, Anyhow, Anywhere”, and Richie Havens’ “Handsome Johnny”. Here’s that original, “Killer On The Radio”.

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DJ: “You are the radio star”!  The Buggles’ self-fulfilling prophetic music video anti-anthem started the 80s phenomenon that was MTV with irony.  The song was originally recorded by Bruce Woolley & The Camera Club and featured Thomas Dolby on keyboards. It wasn’t until Bruce and fellow “Video” writers Trevor Horn and Geoff Downes formed The Buggles that he song would find it’s role. Check out the original sometime. If you’re into New Wave you’d probably prefer that version, which we kinda do.

The Replacements played us a shoutout to indie radio or college radio as it was known in the 80s. The term “left of the dial” comes from those stations being so low on the transmitter dials, usually with frequencies like 88.1 and 90.7. The band’s 1985 LP Tim would land them a slot on Saturday Night Live and just like Elvis Costello – they’d get banned.  Let’s be honest, they had no place being on that stage anyway!

The Ergs! dropped in with an ode to The Replacements’ hometown college radio station Radio K. The University of Minnesota’s station KUOM was formed in 1993 and has been solidly playing the best up and coming tunes ever since. The Ergs! must have enjoyed it enough to write about it. The tune comes from their 2007 EP Jersey’s Best Dancers.

Just a short half hour drive south of Radio K’s headquarters would get you to Cannon Falls, MN’s Pachyderm Studio where Nirvana recorded their third and final studio album In Utero. “Radio Friendly Unit Shifter” was originally titled “Nine Month Media Blackout” and was a collage of poetry thrown back at the success of Nirvana in ’91. Kurt is known to have hated the success, but others contest that view. In February of 1993, the band headed to the small Minnesota town and were “locked in” by the snow to get their work done and get out of there. Steve Albini brought the powerful sound and the studio’s notoriously amazing drum sounds were also captured. The result was a masterpiece in grunge and the band would dissipate only a year later following Kurt’s suicide. 

We began and ended with “Video Killed The Radio Star” along with a few stories of rock stars who died young. Coincidentally, Pat Smear was in both the Germs and Nirvana, surviving many a rock star acquaintance. Go, go, golden boy… Until next time, friends, we hope you enjoyed this Radio episode of Feel Me Flow!

Check out ourList for all of the releases featured!


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FMF Episode #56 – Nights Pt. 1

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DJ: “It’s night time in the big city…” Remember that? Ellen Birkin introducing the legendary Theme Time Radio Hour? I sure do. Hello everyone and welcome to Feel Me Flow’s Nights episode. 

Whether it be in the long, cold, dark nights of the Winter or the short, hot summer nights, the nighttime brings out all kinds of attitudes for people. You’ve got the night owl, one who thrives on darkness and enjoys the sunless situations. Then you’ve got the early birds, who are up before the dawn and have completed half their day’s duties before you eat breakfast. For those of you who thrive during the night, this episode is for you!

“Nights” are quite possibly one of the most fruitful and readily available topics to create a theme about. You’d be hard-pressed to find any artist who hasn’t composed some sort of ode to the nocturne. I mean, consider going back hundreds of years to classical composers like Chopin doing his solo piano nocturnes or Beethoven’s “Moonlight Sonata”. The night inspires across generations and today we’re going to sample a bit of it.

Leading the show off is the 1980 cut from The Scientists.  The Perth, Australia band’s 1980 self-titled EP features a lead off track that fits in somewhere between early AC/DC and Deep Purple with a splash of The Raspberries thrown in. Perfect early punk rock before punk rock took off. Let’s get to the music now, with The Scientists doing “Last Night” from 1980. 

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DJ: The first single released from Yeah Yeah Yeahs’ debut 2003 album Fever To Tell was that disco-y punk jam we just heard; “Date With The Night”. The album was produced by TV On The Radio top talent Dave Sitek and was met with critical acclaim. The band exploded onto the international scene when the single “Maps” was released nearly 10 months later. “Maps” made it onto people’s prom night playlists back then. “Date With The Night” should have.

The Black Lips dropped by with a take on the Nazi’s antisemitic night of destroying everything Jewish. Kristallnacht, the night in November 1938 where Nazi forces smashed so many windows of Jewish businesses and synagogues that the glass shards reminded citizens of “crystal”, was just one of many atrocious acts committed by the German forces. The Black Lips music video for “Crystal Night” showcases an interracial couple being separated by armed forces at a high school dance. As bizarre as the song and video (directed by Sean Lennon) might seem, this tune breaks my heart every time I hear it.

Just 29 years after that night, the world would see a more “loving” vibe enter the atmosphere with the 1967 Summer of Love. Released on January 4th of that year, The Doors’ debut album would be the first in a surge of love-centric, psychedelic-soaked LPs that would submerse the Summer of Love in sunshine. The debut single “Break On Through (To The Other Side)” featured the b-side “End Of The Night”, a spooky sounding cut that blended well with “Crystal Night”.

Another debut smash album, 2001’s Is This It by The Strokes, would catapult a whole new wave of sound in the new millennium. Many “The” bands would follow after the band debuted on SNL that year. Although The White Stripes and The Black Keys were there first, The Strokes would be the band that made garage cool again. One of their best known hits from that debut was “Last Nite” which we heard earlier.

The Growlers are part of yet another new generation of garage rock with their signature beach-goth sound helping push surf-garage back into the spotlight. Their 2016 album City Club was co-produced by Strokes’ front-man Julian Casablancas. If you’ve heard Julian’s solo work, you’d know why City Club sounds so…neon? Either way, good stuff. Let’s get to “Night Ride” from The Growlers.

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DJ: Holy Wave are agreat neo-psych band out of Austin, Texas. They released Adult Fear in 2018 through Reverberation Appreciation Society, but their 2014 Relax still sticks out to us as a gem. Though, Adult Fear is excellent, too. From Relax, we played “Night Tripper”, which is perhaps a slight homage to Dr. John The Night Tripper? I mean, you’d think so, right?

The Night Tripper, himself, showed up with the second single released from his 1973 album In The Right Place. The album features New Orleans funk group The Meters on rhythm and percussion as well as the legendary Allen Toussaint on piano, production, arrangement, and many other credits. “Such A Night” was also featured on The Band’s live epic The Last Waltz.

Allen Toussaint worked behind the scenes with many artists, including The Wrecking Crew alum Glen Campbell. Glen ventured into a solo career in 1965, and in 1977 recorded Allen’s song “Southern Nights”, albeit in a disco-fied version. The original version was feature on Allen’s 1975 album of the same name.

Another Southern-inspired act played before Allen with the Nashville garage rockers Kings of Leon. Before hitting mainstream success in the modern rock world, Kings recorded two amazingly innovative and unique Southern Garage Rock albums to showcase their Southern heritage. Aha Shake Heartbreak even made it into the book 1001 Albums You Must Hear Before You DieThe lead track from that album, “Slow Night, So Long” played in our set.

Coming up on FMF, we’ve got one of two songs that claims to be the origin of “doo-wop”. “I Still Remember (In The Still Of The Night)” was recorded in a church basement in Connecticut in 1956 by The Five Satins. Unbeknownst to the group at the time, the song would spark an entire genre of vocal groups singing rhythm and blues in a slowed down, almost a capella, style. Here’s that legendary track now.

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DJ:  The Moving Sidewalks formed in the mid-60s in Houston, Texas and were led by local guitarist Bill Gibbons. Bill would write the group’s first three releases, but had help with b-side to their second single “Need Me”. The b-side, “Every Night A New Surprise” brought in producer Steve Ames for a bit of help. After two members of the group were drafted into the Army, Bill would reform the group with new members and start going by the name Billy. That new group was ZZ Top.

Atlanta, Georgia had a nice surge of garage punk happen in the mid-to-late-2000s, with The Black Lips helping fuel the fire. One of the groups that was constantly around then but didn’t gain the national audience that the Black Lips did was Carbonas. Carbonas even shared releases with the Black Lips, like the Live At…Rob’s House EP that we took the track “Day Turns Into Night” from.

Canada’s Deadly Snakes dropped by with an insomniac anthem about staying awake. “I Can’t Sleep At Night” was the second track off of their 2003 LP Ode To Joy. The band has worked with within the Detroit garage scene a bit too, garnering help from Oblivians/Reigning Sound mastermind Greg Cartwright.

We mentioned The Wrecking Crew earlier when we were talking about Glen Campbell. In 1962, when Sam Cooke went into the studio to record an album of “twist” themed songs to capitalize on the dance craze twirling around the nation at the time, the producers enlisted in the Wrecking Crew to record the music for Sam. “Twistin’ The Night Away” features some of the most prominent members, including Tommy Tedesco on guitar and Earl Palmer on drums. Gotta love those Wrecking Crew jams, every one of them is so solid.

Speaking of studio musicians, this next track features a musician who did some studio work in the late 60s before starting his own band where he could really shine. Van Morrison and Them would launch their careers after the success of the single “Gloria” from their debut LP, but on their second single, “Here Comes The Night”, the very first guitar strum you hear is played by Jimmy Page. Jimmy has a ton of credits on other people’s work throughout the late 60s, including that amazing guitar sound heard on the beginning of Joe Cocker’s “With A Little Help From My Friends” cover. Here’s Jimmy, Van, and the rest of Them with “Here Comes The Night”.

 

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DJ: When the Stones were asked to perform “Ruby Tuesday” and “Let’s Spend The Night Together” on the Ed Sullivan Show, Ed personally told the group the lyrics needed to be sang as “let’s spend some time together” or the band wouldn’t be on the show. Jagger finally acquiesced and can be seen rolling his eyes while singing the altered lyrics.

Giles, Miles, and Niles Strange of The Strangeloves were three brothers from Australia who were raised on a sheep farm and struck it rich after inventing a new form of sheep crossbreeding. Bullshit. Sheepshit, rather. The backstory was itself the invention of Bob Feldman, Jerry Goldstein, and Richard Gottehrer, three songwriters from New York looking to capitalize on the British Invasion. They were able to pull the story off for a bit, until “I Want Candy” made it big which forced the three to recruit a touring band that would act like the Aussie concoction. Another hit single for them, “Night-Time”, followed our Set 4 Score of the episode.

“Night-Time” bears a striking resemblance to our Set 4 Score, Mrs. Magician’s “Nightlife”. Well, the genre, the pulsing drumbeat, and the two-hit chorus line are about as much as they have in common, but nonetheless characteristics are shared. The San Diego, California band released the single “You’ll Fall In Love” in 2016 along the the full length album Bermuda, both of which are really f’in fun releases. But their 2012 LP Strange Heaven has held a place in our hearts for so long that we wanted to give it a proper feature. “Nightlife” may have well been the best song to come out that year. Check out their bandcamp and pick up some great surf rock anthems for this summer!

More SoCal garage rock played before Mrs. Magician with their Los Angeles counterparts together PANGEA. The band’s third LP Badillac and titular single accompanying it garnered attention from MTV when it was released in 2014. With good reason, too. Badillac is a badass album, and fits in perfectly among the sun-bleached-yet-oil-stained floors of LA’s garage rock scene. One of the deeper cuts from that LP, “Where The Night Ends” graced our set.

Up next is some more Canadian garage rock followed by some sweet soul music. We played Regina, Saskatchewan band Surf Dads on our California epsiode with a track from their debut EP, and today we’re playing the lead track from their debut LP. From Surf Dads’ 2017 debut album All Day Breakfast (perhaps an homage to their debut Denny’s EP), here’s “Up All Night”.

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DJ: La Luz was the Set 4 Score featured artist of our California episode. The band’s 2018 LP Floating Features was produced by Dan Auerbach of The Black Keys and helped the band dive further into the broader audience pool. Lead singer Shana Cleveland has her debut solo LP slated for release in April of 2019, so keep an eye out for that! We heard “Clear Night Sky” from their Damp Face EP.

Some lesser-known psychedelia gallivanted its way through the set with the 1967 cut “Night Sounds Loud” by Clear Light. Clear Light had minor success before disbanding after just the one album. Bass player Douglass Lubahn, however, would go on to be invited to play bass as a fulltime member of The Doors, but declined. Drummer Dallas Taylor found success playing with Crosby, Stills, Nash, and Young, and even sat in with The Doors accompanying John Densmore in 1970. Dallas died January 18th, 2015, exactly 4 years ago today.

Philly soul singer Billy Harner dropped by with the only single he released via Parkway Records, “All Through The Night”. Well, technically “All Through The Night” was the b-side to “Let’s Get In Line”, but we’ll take it. Harner never found the success he pursued, but persisted hard through the 60s. After finally calling it quits, Billy opened up a barber shop in Camden, New Jersey.

Wilson Pickett stopped by with the b-side to his 1970 single “Hey Joe”. Though “Hey Joe” came from the 1970 LP Right On, the b-side “Night Owl” came from the previous album Hey JudeHey Jude, of course is famous for catapulting what is now known as Southern Rock due to Duane Allman’s epic guitar solo in the song. 

The final set of our Nights episode begins and ends with The Beatles, much like many rock and roll discussions. Swedish band Mando Diao covered The Beatles’ “A Hard Day’s Night” for their 2006 single TV & Me. Giving the track a fresh spin and real garage vibe, here’s Mando Diao.

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DJ: Ahhh. How peaceful. The finale to the Beatles’ best album (in my opinion), “Good Night” closes out our Nights Pt. 1 episode. Twelve violins, three violas, three cellos, one harp, three flutes, one clarinet, one horn, one vibraphone, and one string bass accompany Ringo Starr on vocals. John Lennon wrote the tune as a lullaby for his son Julian and wanted it to sound real cheesy. It worked. Sure was pretty, though.

Spooner Oldham, Roger Hawkins, and Jimmy Johnson of Muscle Shoals notoriety showed up again, this time backing up Aretha Franklin on her 1968 Aretha Now LP. “Night Time Is The Right Time” had been recorded by Ray Charles a few years prior, but the origination of the song dates back further than 1938. Roosevelt Sykes recorded “Night Time Is the Right Time” in 1937, and more versions than we can list have morphed their way along the charts throughout the years, including versions by CCR and The Sonics. 

Melbourne, Australia’s Drunk Mums dropped by with a brand new track off of their Urban Cowboy release. “Rockin’ All Night” not only encapsulated Drunk Mums persona as a band but also projects a perfect image of the guitar god era of rock and roll. The track rips like a b-side off of Exile On Mainstreet impregnated someone from the KISS army. Great rock and roll!

The Greenhornes’ debut 1999 album was a true-to-form effort out of Detroit’s thriving garage rock revival scene. The Greenhornes, The Gories/Dirtbombs, The Go, and Oblivians were just handful of amazing bands that rocked the 90s in Detroit. But it wasn’t until a furniture upholsterer named John Gillis started a little duo-band called The White Stripes that the world would finally recognize the Motor City’s garage mecca role. The lead track to that debut LP, “The End Of The Night” played before Drunk Mums.

Well everyone, the sun is coming up soon and it’s nearly day time. We really enjoyed spending the night with you tonight, and hope you’ll join us on our Nights Pt. 2 whenever that may be. Until next time, thanks for listening!

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FMF Episode #55 – Gypsys, Tramps, & Thieves

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DJ: Hello and welcome to another round of Feel Me Flow! This week we took an old Cher song and created an entire episode out of it! Our theme today is Gypsys, Tramps, & Thieves! It’s weird how they spell Gypsys on the song and album version of Cher’s song. I mean, Y?! What gives?

Though it isn’t the greatest song ever written by any means, it sure makes for a great playlist topic! Many a tune has been written in the name of the roving persons known as gypsies, plenty of songs about gypsy women, frustrated singers lamenting over tramps who’ve done them wrong, or songs about a thief stealing your heart or other prized good. We’re gonna sample all three flavors today, starting off with the title track to today’s theme.

Cher’s self-titled 1970 album would be renamed to include the title track after the single became an instant hit. Songwriter Bob Stone had originally penned it as “Gypsys, Tramps, and White Trash, but producer Snuff Garrett advised him to change it to “thieves”. Landing Cher her first solo #1 single, here’s the title track to the renamed album by Cher.

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DJ: Beach Slang’s 2016 LP A Loud Bash Of Teenage Feelings was recorded during the rockiest part of the band’s history, with two members leaving before its release. Earlier that year, during a show in Salt Lake City, the band tried covering The Replacements’ “Can’t Hardly Wait” but fell apart. After the song, lead singer James Alex stated “We were Beach Slang, Natalie give them their money back.” which prompted then-guitarist Ruben Gallego to throw his guitar down and quit. James told the audience they were done shortly after that. The band, though, did not completely dissolve, and James released a “quiet” interpretation of their songs titled Everything Matters But No One Is Listening in 2018.

The Clash submitted their Junior Murvin cover to our theme today. “Police & Thieves” was originally done as a slow reggae tune before Strummer and the boys go a hold of it. Joe was a known reggae fan and helped created the bridge over the gap that connects punk and ska still to this day. We played the Junior original on our Crime & Punishment episode if you want to hear it in some context.

Perhaps the best known “Tramp” song that exists, we played the well-known cover of Lowell Fulson’s 1967 song. Otis Redding & Carla Thomas pushed their cover out just 4 months after the release of Lowell’s, and boy did they cast a shadow. You’d be hard-pressed to find someone who didn’t know this wasn’t an Otis song. Nevertheless, the jam from King & Queen finds its way to our first set.

Mr. Band of Gypsies, himself, Jimi Hendrix stopped by before Otis and Carla. The 1968 masterpiece Electric Ladyland featured smash singles “All Along The Watchtower”, “Crosstown Traffic” and “Voodoo Chile” among others, but it was the album-cut “Gypsy Eyes” that soaked up 3 recording sessions and 50 takes. Can you imagine spending that much time on ONE SONG? Well, that’s why it’s a masterpiece.

Hendrix fans Wolfmother exploded onto the scene with their debut self-titled album in 2005/2006. The “Joker & The Thief” references the “joker” and “thief” from Dylan’s “All Along The Watchtower”, the tune Jimi launched into interstellar superfame 38 years prior. Don’t you just love how these things connect? Here’s Aussie’s best hard rock throwback band Wolfmother. Turn this one up!

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DJ: Sticking with the Hendrix topic, let’s bring in a little Betty Davis. Betty Davis, born Betty Mabry, was a model and songwriter from New York in 1967 when she met Miles Davis. Miles, who we’re hearing behind us now, would marry Betty the following year. By 1969, though the couple would divorce after Miles accused Betty of cheating on him…with Jimi Hendrix. Jimi and Miles had grown close in 1968, which is why Jimi’s music started sound like it was fused with jazz and Miles incorporated more rock elements into his songs. Crazy huh? Back to Betty though, her sophomore LP included the funk jam “Don’t Call Her No Tramp”, which we gladly played today.

We weren’t going to make it through a gypsy playlist without the infamous Gypsy Punks, Gogol Bordello. In an interview with NPR in 2006, lead singer Eugene Hutz described his musical influences as Jimi Hendrix’s Band of Gypsies record (which he had no idea at the time that it was called that, a huge coincidence), and Parliament Funkadelic. His dad was a musician and friends with African students studying in Kiev who would get him all kinds of bootlegged Western music on tape. Thank you, whoever you are, students of Kiev, and to the rest of you bootleggers who risk punishment or incarceration to simply hear great music where it isn’t available! We played “Sally” from the band’s breakthrough album, 2005’s Gypsy Punks: Underdog World Strike.

 JJ Cale’s 1976 LP Troubador included what would become one of his most famous songs, thanks to Eric Clapton; “Cocaine”. But the song that followed it on the album, “I’m A Gypsy Man” was a cover of Sonny Curtis’ b-side to his single “I Wanna Go Bummin’ Around”. The same man who produced Cher’s titular theme song for our episode, Snuff Garrett, also produced that Sonny Curtis single.

If you like the fuzzy, blues-country sounds of that Troubador album, you might enjoy the fuzzy, blues-country rock sounds of Blitzen Trapper. Blitzen Trapper are a huge favorite of FMF. If you’re into punk rock but want to try country, try Blitzen Trapper. If you’re into country but are feeling a bit rock and roll. Try Blitzen Trapper. From the band’s 2007 Sub Pop release, Wild Mountain Nation, that was “Miss Spiritual Tramp”, a reference to the JD Salinger short story “A Perfect Day For Bananafish”.

Our next set gets a little psychedelic. Starting things off is Danish band Iceage with a track from their critically acclaimed 2018 album Beyondless. Icecage toured with the Black Lips throughout Europe in 2018 to support the effort. Here’s “Thieves Like Us”.

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DJ: Man. Can, sure can jam. The Krautrock pioneers recorded a slough of tracks in 1968 with the hopes of releasing their debut Prepare To Meet Thy Pnoom. After no label would take on the project, they persisted in their recording and eventually released Monster Movie in 1969. The 1968 demos would surface officially in 1981 as Delay 1968, which included the track “The Thief”.

A couple “quieter” years came after Habibi released their debut self-titeld album on Burger Records in 2014. Touring and supporting the music would be the main focus, along with releasing a couple of EPs. One EP was a split with previous Set 4 Score artist La Luz, and another, titled Cardamom Garden would surface in 2018. Rumor has it the band is working on releasing a new album along with a repressing of the original debut. From their 2018 EP, we heard “Gypsy Love”.

Another previously featured Set 4 Score artist occupied the middle of our set. Bummers played us “Lucky” during our Luck episode and donated another album cut from their self-titled debut, “Gypsies And Drugs”, to this show. The band released Dolores in 2017 and according to their Facebook page have big plans for 2019. Let’s hope those plans include some more great music!

Crocodiles, the psych-gaze sworn enemies of Sherrif Joe Arpaio, yes that Sherriff, chimed in with a cut from 2015’s Boys. “The Boy Is A Tramp” channels The Jesus And Mary Chain’s “Just Like Honey” with it’s “On Broadway”-like bass line and spacey snares and swells. Don’t you just love that 60s style melody thrust into the spacey sounds of the New Millennium?

Our Set 4 this week starts with a couple Fleetwood Mac covers. Woodstock alumni Santana took the British band’s voodoo-esque track and put their own Latin spin on it, adding a cover of Gábor Szabó’s “Gypsy Queen” to the end of their version for a double cover delight. Gábor has an entire album about the themed “gypsy”, titled Gypsy ’66. Gábor was Hungarian, born and raised not far from where Eugene Hutz of Gogol Bordello grew up albeit many years apart. Here’s Santana doing “Black Magic Woman / Gypsy Queen” from Abraxas.

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DJ: Bachman-Turner Overdrive (BTO) morphed into the classic rock  outfit that we know today after the lineup change of The Guess Who in the late 60s. Randy Bachman left the band to form Brave Belt with his brother and original Guess Who singer Chad Allan. After evolving into a more rock-oriented outfit and renaming themselves Bachman-Turner Overdrive, the sky was the limit. Fans loved the upbeat music, something to dance to! From that smash sophomore release Bachman-Turner Overdrive II, we played the deep cut “Tramp”.

Arctic Monkeys swung in with a b-side deep cut from their single “Fluorescent Adolescent”. “Plastic Tramp” has its own entry in the Urban Dictionary in direct reference to the song’s lyrics Apparently a plastic tramp is a traveling hobo who wears Crocs and recycles plastic bottles. I’m not quite sure why Alex is so upset with him, though? 

Our Set 4 Score this week comes from Montreal band UBT, or Uncle Bad Touch. The unique dancing guitar lick that leads the song off travels up and down the scale almost like a snake charmer raising the reptile from its basket. Coupled with double-time tambourine smacks and a bit of “technology” the song “Gypsy Woman” makes for one hell of a score. From the band’s most recent output Ego Orientation, that was UBT with “Gypsy Woman”.

And following up the Santana cover was Tigers Jaw covering a bit of Fleetwood. “Gypsy” was originally written in 1979 by Stevie Nicks with the hopes of it possibly being included on her debut solo album Bella Donna. After her friend Robin Anderson died of leukemia in the early 80s, Stevie held it over for Fleetwood Mac’s album Mirage. Tigers Jaw recorded a cover of “Gypsy” in 2011 for a one-off single which we played today.

Coming up next is the Seattle prog-math-indie band Minus The Bear. After a 17 year career, 6 albums and 4 EPs, the band announced their retirement in July of 2018. I’ve had the pleasure of seeing them live more than once and can tell you first hand that if you missed them, you truly missed something amazing. Precision is a word that comes to mind. From their 2010 album OMNI, here’s Minus The Bear doing “The Thief”.

 

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DJ: From that little Minnesota town! Dylan’s 1970 album New Morning was a return to his normal vocal styling after a couple years in country crooner land. The album is chock-full of great songs, too! Well, what Dylan album isn’t, though, really? “Went To See The Gypsy” was often thought to have been about Bob meeting Elvis Presley. The lyrics to the song might point you there, but he told Rolling Stone in 2009 that he never met the guy. As is true with Dylan, the song had loosely based truths skewed into fantastical stories with characters becoming more interesting as Bob’s pen laid more ink down. He does throw a nice little reference to Hibbing in there, though.

Compulsive Gamblers dropped by with the album-ender to Crystal Gazing Luck Amazing, “Two Thieves”. The Hives are said to had covered that song live before. The song tells the story of two outcasts whose paths should never have crossed and represents the Wild West mentality of that idea by soaking the music in a Country/Western bath.

After Brian Hyland found fame as a teeny-bop star with the smash single “Itsy Bitsy Teeny Weenie Yellow Polka Dot Bikini” and “Sealed With A Kiss”, he would start to lean toward a more country-tinged sound. In 1966, he recorded The Joker Went Wild with producer Snuff Garrett and session musicians Leon Russell and JJ Cale. In 1969 he scored a minor hit with a cover of The Impressions’ 1961 song “Gypsy Woman” produced by Del Shannon.

When Rolling Stone got their hands on Uriah Heep’s Very ‘eavy, Very ‘umble, the review written by Melissa Mills would end up creating more of a Streisand effect than any other. Melissa’s review begins with “If this group makes it I’ll have to commit suicide. From the first note you know you don’t want to hear any more.” Typical Rolling Stone holier-than-thou and very wrong review. See their Led Zeppelin reviews or Top 500 lists for more on that.

Alright, from that country-tinged ending of the fifth set we move on to some country punk. Ok just some punk rock. Though, the Swingin’ Utters are well-versed in country music. Lead singer Johnny “Peebucks” Bonnel takes plenty of inspiration from the Outlaw country artists like Merle Haggard and Johnny Cash. Peebucks fronts the Filthy Thieving Bastards as well, a country punk outfit. From the Utters’ 2011 LP Here, Under Protest, here’s “Lepers, Thieves, and Whores”.

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DJ: Ol’ Blue Eyes winds down our final set with a rendition of the 1935 showtune “The Lady Is A Tramp”. Frank recorded his take just after the release of Disney’s Lady And The Tramp, released in 1955. From his 1957 LP A Swingin’ Affair!, that was “The Lady Is A Tramp”.

We got a bit quieter with Siren frontman Kevin Coyne doing some bedroom demos. According to this review of his 1999 release Sugar Candy Taxi, when Jim Morrison died, Elektra Records offered Kevin the role of his replacement. Kevin responded with a no, citing he “didn’t like the leather trousers”. Probably a good thing. Doors fans would’ve freaked. After Siren, Kevin recorded some home demos on a reel-to-reel at home for future release on his solo debut. The 1972 debut Case History showcased the outsider writings that Kevin did so well, and transformed his demo “Tramp’s Song” into “Uggy’s Song” and sang an octave up. I prefer the demo.

Actress Zooey Deschanel teamed up with M. Ward to form She & Him in 2006. Zooey had been writing material throughout her life but let the music side of things fall by the wayside when acting took off. The group was a success, churning out beach-friendly sun-kissed tunes that every California could tan to. They continue to crank out music, including a Christmas LP in 2011. We played “Thieves” from Volume Two.

108 years ago this week, Gypsy Rose Lee (Rose Louise Hovick) was born in Seattle, Washington. One of the most famous, if not the most famously well-known ecdysiast and burlesque dancers in history, Lee served as inspiration to Brody Dalle as she was growing up. Brody turned 18, married Rancid frontman Tim Armstrong, and moved to Los Angeles to pursue a career in punk rock. The debut Distillers album features the Dalle-penned homage to Gypsy Rose.

And that, friends, is the end. We hope you enjoyed our show today! In no way were we looking to offend anyone, and do understand the connotations and connections that the words of our theme have to certain people around the world. It’s just a theme, from a Cher song. We plan on doing similar themes later this season, so stay tuned if this was something you enjoyed! See you next time on Feel Me Flow!

 

Check out ourDiscogs_logo.svgList for all of the releases featured!


FMF Episode #54 – Giving Thanks

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DJ: Welcome back, theme fiends, to another round of Feel Me Flow! Happy New Year! With the new year comes new hopes, but we also want to look back on last year a bit. For our first episode of this year, we are going to give some thanks where thanks are due.

Sometimes we give thanks sarcastically, like ‘Hey, thanks a lot for stepping on my toes.”. Sometimes we want to thank someone for loving us. Many times we’re just thankful in a general sense.  It’s important to stop and be thankful for the things you DO have. A loving family, caring friends, a happy career, a nice cold glass of ice water, the air that you breathe; all it takes is reflection.

Kicking off our thankful theme today is a song about a mice elf. Ok, that’s just not true.  But the track title might make you wonder. Sly and The Family Stone put out some of the best political soul and funk music of the late 60s.  After the release of 1969’s Stand!, Sly and the band would face some tumultuous times in drug land. Living neck-deep in PCP and cocaine addiction might be enough to deter you from working. Maybe. Either way, they released one single during the 1969-1971 session and were clearly thankful for something. Here’s Sly & The Family Stone doing their smash single “Thank You (Falettinme Be Mice Elf Agin)”.

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DJ: Ahhh. What a smooth finish.  Our first set began and ends with a couple of thankful 1969 tracks. From Zeppelin’s II, that was “Thank You”. The song brings the magical melodic vibe that other Bonham-less tracks would do in later years, featuring only John Paul Jones’ Hammond organ and Jimmy Page’s guitar under Robert Plant’s vocals.

We were graced with the last single The Damned recorded with Captain Sensible still in the group. “Thanks For The Night” was released in 1984 as a standalone single before the band rearranged themselves. Another version of the song was released on Captain Sensible’s 1983 solo album The Power Of Love. Listen to that version if you’d prefer cheesy 80s synths layered over the track.

More British garage rock played before The Damned with Kaiser Chiefs’ sophomore effort being showcased. In an interview with NME in 2006, the band mentioned Led Zeppelin’s sophomore album selling 23 million copies and wanting to mimic that with their own release. I don’t think they hit that number, but a solid effort nonetheless! We played “Thank You Very Much” from Yours Truly, Angry Mob; their second album.

Gary Lewis & The Playboys asked “How Can I Thank You” with their 1968 deep cut. The band found huge success in 1965 with their debut single “This Diamond Ring”, but sales slowly tapered away with the evolution of 60s rock music. By the beginning of the 70s, the band had been released from Liberty Records and would dissolve not long afterward. 

Our next set starts with one of those annoying pop punk tracks you used to hear on the radio back in 2007. Fall Out Boy rode that pop punk popularity wave as long as the fad would let them, reaching new heights with the release of their 3rd album Infinity On High. The album starts off with Jay-Z introducing them. What an achievement for a pop punk band that was virtually unheard of only 4 years earlier! Anyway, here’ one of the smash singles from that album, “Thnks fr th Mmrs“.

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DJ: My Morning Jacket wraps up our second set with a pretty little ditty thanking someone. The track “Thank You Too!” comes from their 4th LP Evil Urges. The album was a the second to showcase the band’s new funkier sound after forming as more of an alt country / indie rock group. They still incorporate the lap steel guitar to this day, though.

Perhaps one of MMJ’s influences preceded their gratuitous endeavor with Big Star doing “Thank You Friends”. Alex Chilton makes appearances regularly on FMF; from his debut with the Box Tops to Big Star to solo work and even some Replacements cameos. Hell, we’ve even played this particular track before on our Best Friends episode!

Half Japanese made their way onto the infamous Top 50 by Nirvana list that Kurt Cobain wrote in his journal. The art punk band has been consistently releasing music since 1980, with another album announced for 2019 – Invincible.  We heard “Overjoyed And Thankful” from their 2014 effort Overjoyed.

Ty Segall dropped in with “Thank God For Sinners” from his fifth album. 2012’s Twins was apparently influenced by Nirvana and The Doors among other rock legends. The poetic heavy doesn’t go unnoticed. In fact, it pairs nicely with Half Japanese’s artsy approach. Almost like a Cobain sandwich.

Up next is the classic soul jam from Sam Moore & Dave Prater; the “Soul Men” known as Sam & Dave. Mopping up a few hits in the late 60s, the duo saw a resurgence in attention in 1978 when Dan Akroyd and John Belushi performed a cover of their song “Soul Man” during the cold open of Saturday Night Live as their soul revival group The Blues Brothers. You might even know “Soul Man” as a Blues Brothers song. Here’s another one that was covered by countless artists; “I Thank You”.

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DJ:  Seattle technical indie rock band Minus The Bear’s debut album fell in line with other indie bands’ style when it came to titling their songs. For some reason, bands in the early 2000s thought it was cool to use a quirky, out of context quote or reference as a song title – breaking the form of yesteryear. Some of these ended up being pretty great, but then some ended up going too far. See: Sufjan Stevens. Many of the titles referenced on this album were from Starship Troopers.  From 2002’s Highly Refined Pirates, that was the lead track “Thanks For The Killer Game Of Crisco Twister”.

Before Wayne Coyne of The Flaming Lips started singing like Neil Young, the band would struggle to breakthrough onto the mainstream (not that they really wanted to). After he switched, the band would release their major label debut Hit To Death In The Future Head. From their sophomore 1987 album Oh My Gawd!!! and prior to the high pitched singing, that was “Thanks To You”.

More psychedelic rock played before the Lips with White Denim’s bluesy trip “Thank You”. The song comes from the 2016 album Stiff, the band’s first without original drummer Josh Block and guitarist Austin Jenkins. They left to work on Leon Bridges’ debut album Coming Home the previous year. 

An early b-side from The Beatles followed Sam & Dave. We heard “Thank You Girl”, the b-side to The Beatles’ 4th single “From Me To You”. “Thank You Girl”, although released in 1963, wouldn’t see an LP release until the 1978 compilation Rarities.

Our Set 4 Score this week comes from the Swedish garage punkabilly band The Peacocks. Even though they’ve been crushing out albums since 1995, you may be just as unaware of them as we were until recently. From the 2010 album After All, this is “Thank You For The Young Ideas”. 

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DJ:  Oooh I love how soulful that set became. What do you say we keep it going? First let’s talk about what we heard. Capping off our set was the neo-soul smash act Nathaniel Rateliff & The Night Sweats. There was a swing in soul on the pop charts around 2015 and forward with Leon Bridges, Nathaniel Rateliff, and others, some being produced by Dan Auerbach like Shannon Shaw. From the debut release of Nathaniel with The Night Sweats (earlier released were solo efforts), that was “Thank You”.

William DeVaughn reminded us to “Be Thankful For What You Got” with is 1974 single. The song was originally titled “A Cadillac Don’t Come Easy” before being rewritten and smoothed out to a cool 7-minute single. The truncated single would go on to sell over 2 million copies and become an anthem for cruising. Diamond in the back, sunroof on top, diggin’ the scene with a gangsta lean…

Reigning Sound played us a perfect transition song from garage to street with their track “I’m So Thankful”. The album marked a new sound for Greg Cartwright after his work with Oblivians and Compulsive Gamblers. The track we heard closes out the album Break Up, Break Down, released in 2001.

Paul Revere & The Raiders enjoyed fame as a garage rock band in the mid 60’s but would succumb to the fate that many of their peers did in the latter part of the decade. Psychedelia. Drugs, maybe. From the clean cut image they originally portrayed to album titles like Hard N’ Heavy (With Marshmallow) and Alias Pink Puzz in 1969, the band would fade out briefly before returning as Raiders in 1971 with the big single “Indian Reservation”. We heard “Thank You” from Alias Pink Puzz.

Alright back to that soul session. Our next set starts off with Donny Hathaway. Donny’s debut single “I Thank You Baby” with June Conquest under the duo June & Donnie was co-written by Curtis Mayfield and Hathaway in 1969. Donny would break it big the following couple of years with “The Ghetto” and a cover of Leon Russell’s “A Song For You”. Right when he was making a comeback in 1979, he was found on the street below the Essex Hotel in New York City, presumably having jumped. Apparently he had suffered from paranoid schizophrenia. Poor guy. Let’s remember the light of him with that debut, though. “I Thank You Baby”!

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DJ: That harmonica, though. Stevie Wonder’s signature sound tails our soul set with “Thank You Love” from Down To Earth. Like the album before it, Up-tight, the album marked a change in Stevie’s sound toward a the Motown hitmaker role as opposed to a teen pop star.

If you felt like that Solomon Burke song was a little too much for you, maybe a little too risque or a little too…I don’t know. Innuendo-y? That might be due to “Thanks, I Needed That” coming from his 1975 album Music To Make Love By. Hey, sometimes you just need that.

Oh man, a super cool cut from Barbara Lynn strummed the middle of our set. “This Is The Thanks I Get” was a complete opposite vibe from the Burke song that followed it. The track comes from Barbara’s 1968 Atlantic Records debut Here Is Barbara Lynn. She had a few fairly successful singles in the years prior before Atlantic took a gamble on her. Her LP didn’t hit the mark and she was released by 1969. One of those successful singles was the 1967 Tribe Records single “You Left The Water Running”, which Otis Redding covered.

In 1965, Otis teamed up with Booker T. & The MG’s to record The Great Otis Redding Sings Soul Ballads. Rumors have long circulated that this was the first recording to feature Isaac Hayes, but due to him not being credited it hasn’t really been proven true. From that ballad album, we heard “I Want To Thank You”.

Our final set starts off with a Joe Walsh-penned prayer of sorts. James Gang’s Rides Again launched the band into the mainstream and helped create an even bigger name for Walsh. “Funk #49” drew fans towards the blues rock gem, and acoustic/electric jams like “Thanks” were great gap fillers. Let’s hear Joe’s prayer with James Gang doing “Thanks”.

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DJ: I mean it’s pretty hard to argue with Bing here. Even though he had plenty to be thankful for, we all can take a minute to think about what we have in our lives that make them worth living. In 1942, Irving Berlin would pen 12 songs for the musical Holiday Inn. Though “I’ve Got Plenty To Be Thankful For” is a catchy tune, it was the films finale song “White Christmas” that would go on to win a Grammy and become a legend in time. The film is also known for its controversial blackface act during the performance of “Abraham”. Most TV versions edit this out during holiday broadcasts now, and for good reason.

More Swedish garage rock blasted our way with The Hellacopters doing “Thanks For Nothing”. This, here, is a prime example of one of those sarcastic thank yous we mentioned in the intro. Unlike it’s sarcastic counterpart “thanks a lot”, “thanks for nothing” directly indicated negativity. You could possibly hear “thanks a lot” in a positive and sincere way, though. The more you know. 

Scottish indie garage band The Pastels would begin their journey in the mid 80s before taking a stab at the international market in the 90s alternative rock world. Their final release before signing to Domino Records was a single for Paperhouse Records titled “Thank You For Being You” in 1993.

Michigan psych-rockers Heaters gave us a little taste of “Thanksgiving I” before the Scots. The song is part one of two and opens the 2017 album Matterhorn.  The band released their fifth album Suspended Youth in Nobemver of 2018, continuing on the epic sounds they’ve come tobe known for.

Thank you. Just thank you so much. We’re wrapping up our Giving Thanks episode with one phrase and it’s an important one. THANK YOU! We’ll see you next time on Feel Me Flow!

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InFlowences: Double Grave

After featuring them as the Set 4 Score in our Road Trip Part 1 episode, we spoke with Jeremy from Minneapolis, Minnesota’s Double Grave to discuss some of the artists and songs that have influenced him throughout his music career.  Listen to the entire playlist or each song individually and read each pick’s backstory below! (📷 by Tessa Loeffler)


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Jeremy Warden “The first time I heard this album, it was like stepping into another world. It really opened me up into what an album could be like, and what a “band” could be. It doesn’t have to just be a collection of separate songs by a group of four people, in can move like a movie, and involve dozens of contributors. I still strive to make a record like this, that isn’t afraid of scope, that creates it’s own world. I also continue to be inspired by how, despite the lush production of these songs, they stand alone just as strong when played by one person with a guitar. It’s really impressive to me still. “

Jeremy Warden:  “When I was in middle school beginning to play with other people, this record is what really inspired me to actually start a real band and try to write songs/book shows together. I learned every part of every instrument on this record so that I could play whatever was needed to keep bands moving. It had an emotional rawness and huge sound that just really captivated and influenced me for a long time.”

Jeremy Warden: It’s hard to know what to say about this record. Every time I listen to it I love it a little bit more. It’s been hugely influential just to the way I look at/approach/play guitar. It almost feels like rather than molding the guitar around the songs, the songs are molded around the guitar sounds, if that makes sense. The first time I listened to it I was like, “What are these sounds? Are these guitars? How do I make sounds like this?!”, and have more or less never stopped feeling that way. Even though I’ve never tried to make “true shoegaze” music like this, it’s definitely guided the general textures/methods of playing for me.”

Jeremy Warden: “This record really changed the game for me. I was thirsty for stranger music, for weirder sounds. I’d always loved just making weird noises with the instruments I had collected, but it wasn’t until Animal Collective that I realized you could turn weird sounds into actual songs. That anything could be an instrument, and that there were actually no rules to music at all. They sparked a long road of weird, fearless, exploratory song writing for me. Another album worth mentioning here is HyperMagicMountain by Lightning Bolt, which had a similar impact but instead of breaking all the rules with weird psych sounds, they just used loud bass and wild drums. They inspired me to play loud and shreddy and use noise and feedback in music more melodically.”

Jeremy Warden: “This was the first record/band I heard associated with the work “punk” so, that’s pretty huge to me, as I always say that Punk is the school/church that I grew up in in terms of music, and guides my approach to music on many levels. Before hearing The Clash, I mostly just stuck to whatever came on the radio, so, they were the first older band I listened to as well that wasn’t inherited from my parents. From here I’d fall in love with all offshoots of punk, from hardcore, to pop punk, to skater punk, ska, metal, crust, you name it, I love it all, and continue to turn to punk art and ethics for inspiration and guidance, and it all started here.”

We at Feel Me Flow want to thank Jeremy and Double Grave for taking the time to chat with us about their InFlowences.  Double Grave is headed out on an East Coast tour starting tomorrow in Minneapolis! Also, don’t forget to head over to DG’s Bandcamp page and pick up their latest effort Empty Hands released via Forged Artifacts! You can stream the EP below via their Bandcamp.


Check out our Discogs_logo.svgList for all of the releases featured!


FMF Episode #52 – Road Trip Pt. 2

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DJ: Get your motor runnin’, head out on the highway! Hello everyone and welcome back to Feel Me Flow where we’re on round two of our Road Trip episode!  Last week we kicked off the end-of-summer road trip with Part 1 and a Set 4 Score from Double Grave. We’ll have a lot more deep cuts for you this week, but don’t worry, you’ll get to hear some of those staples of classic rock road tripdom. 

In fact, that’s how the show starts off today! Some bluesy-rock jams to move those tires as we roll on down the highway. The highway. Although for many of us it’s only a short drive away, it seems to also live on as a mythical place of adventure, sorrow, worry,  freedom, and loads of other emotions. Rock songs often revolve around the “highway” because that’s where most of those touring artists live.

Deep Purple’s Machine Head album was integral in the development of heavy metal. The combination of heavy drums, heavy guitars, screeching solos, and that deep distorted-almost sounding organ that ccarried with it a chugging responsibility made for a sound bearing much more weight than the songs of previous “rock” artists like Buddy Holly and The Beach Boys. “Highway Star” leads off the album  and our show today. So put the pedal to the medal and let’s go!

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DJ:  If you’ve ever read up on the story of Robert Johnson, you might know about the “Crossroads”. Legend has it that Robert Johnson “sold his soul for rock and roll”, well, blues in this case. The guitarist, who died at age 27 due to a poisoning by a scorned acquaintance, recorded “Cross Road Blues” in 1936 in room 414 of the Gunter Hotel in San Antonio. Eric Clapton and Cream played us perhaps the most famous revamp of the classic tune.

Iggy and the Stooges stopped by with a cut from Fun House. The album was named for the new house that the band had bought when they were signed by Elektra.  Iggy pointed out in an interview with Rolling Stone that he drew inspiration from Howlin’ Wolf quite a bit with this record, and boy is it obvious. Howlin’ was known for his drone like blues songs that chugged along on one note, just like “Down In The Street” does.

Greta Van Fleet, or the band that everyone showed their parents and asked if they thought it was Led Zeppelin, stopped by with their debut smash single “Highway Tune”. The song borrows licks from bands like Zeppelin or any other 1970’s rock band influenced by old blues players. It’s great to see a new generation jamming like their grandpa’s used to. The circle of rock.

The Black Keys’ frontman Dan Auerback stopped by with a track from his first solo record Keep It Hid. Dan clearly draws from old blues players as well, citing artists like R. L.  Burnside and Junior Kimbrough as directly influencing them. They even recorded a Junior Kimbrough covers EP titled Chulahoma.

The next set kicks off our tribute to Rancid with Avenues and Alleyways, a song from their …And Out Come The Wolves Album. Our Avenues set starts with Jacuzzi Boys and a cut from their debut album No Seasons. Here’s the Florida “glazers” with “Island Ave”.

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DJ: If Roy Orbison’s favorite color wasn’t black I’d bet my life it was blue. It’s almost like Roy was a bruised man, obsessing over black and blue.  Roy’s got songs like “California Blue” which we played on our California show, “Blue Bayou”, and of course “Blue Avenue”, from Sings Lonely And Blue

The Boss stopped by with one of the big singles from Born To Run. Bruce is another artist who has a seemingly endless plethora of playables referencing that glorious “road” we’re so destined to travel down. We went with one of his bigger hits, if not his biggest about a street of some sort. That was “Tenth Avenue Freeze Out”.

We heard a Bay Area one-two punk punch from Green Day and Rancid. Billie Joe Armstrong and Tim Armstrong, though not related, both cut their teeth at the legendary 924 Gilman St. club in Berkely while growing up. If you were to head down to a show there in 1989 you might have seen the two play, although not with Green Day or Rancid. Tim was first in Operation Ivy with fellow Rancid member Matt Freeman before breaking up to form the latter band in the ’90s.  Billie Joe cited Op Ivy as a major influence on him and he started a band called Sweet Children. SC changed to Green Day not long after forming and would join Rancid in the mid-’90s punk explosion.

Green Day’s “Stuart and The Avenue” references the intersection of Stuart St. and Telegraph Avenue in Berkeley, California. Tim wrote “Telegraph Avenue” for his second solo effort, but upon hearing some of the songs he had recorded Brett Gurewitz urged him to get the band together and record a proper full length. I wonder if Billie Joe and Tim ever cross paths at that intersection anymore…?

Our next set focuses on those shady back streets between buildings known as alleys. The Mamas & The Papas recorded an ode to a club in the Virgin Islands with their track “Creeque Alley”, though they never mention it. The tune does mention Roger McGuinn of The Byrds, Barry McGuire of the New Christy Minstrels, John Sebation of the Lovin Spoon’ful and a few more. Here’s the happy-go-lucky 1967 song from Deliverin’, “Creeque Alley”.

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DJ: From Dead Ghosts’ LP Can’t Get No, that was “Hanging (In The Alley)”.  Their garage rock throwback sound echoes that of their Burger Records labelmates and other late 2000s-early 2010s lo-fi wave surfers. The band hails from Vancouver, British Columbia, Canada, home of the infamous Nardwuar.

The horn section stopped by the middle of our set for some alley brass. Gainesville, Florida ska band Less Than Jake were at the top of skate park cool in the 90s with the release of their albums Losing Streak and Hello Rockview. The latter would be the band’s last for Capitol Records before jumping to Warner Bros. for Anthem. From Hello Rockiew, that was “Nervous In The Alley”.

Lee Dorsey dropped by with my favorite song about an alley, “Sneakin’ Sally Through The Alley”. I’ll admit it was years before I had heard his original version. I was always familiar with the Robert Palmer/Lowell George/The Meters version. Those are all the same version by the way, just an amazing group of players. 

Elephant 6 Collective band The Apples In Stereo referenced one of the more famous alleys of the world, “Tin Pan Alley”. The term eventually became synonomous with the music industry of the time, but Tin Pan Alley was originally an area in Manhattan, New York City, where a strong prescence of artists, songwriters, and musicians resided. The Apples In Stereo song comes from their second album; Tone Soul Evolution.

Set 4 this week is full of garage rock jams, perfect for the building that houses the machine used for road trips; a vehicle. Leading off the pack is The Shangri-Las outta Queens, New York. The “girl group” found huge success with their debut single “Remember (Walking In The Sand)” and “Leader Of The Pack” in the mid 1960s.  40 years later, Shangri-La member Mary Weiss would record a solo album backed by Greg Cartwright and The Reigning Sound. More on that later. Here’s The Shangri-Las with “Out In The Streets” from The Shangri-Las – ’65.

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DJ:  “One Way Street”, track 2 off of the debut album from Australian punk pioneers The Saints, packs just as much punch as track one, but has more street references in it. Ha!  The band took big cues from The Stooges and rock and roll acts like Little Richard and were very early to the punk scene, releasing “(I’m) Stranded” in June of 1976 just 4 months after the Ramones’ “Blitzkried Bop” single hit shelves.

When Danny Fields traveled to Detroit to see the MC5 in hopes of possibly signed them to Elektra Records, MC5 guitarist Wayne Kramer told him to go see The Stooges. So, he did, and by September 1968 both bands were signed to Elektra! Crazy.  MC5 also has strong ties to The Boss. Fred “Sonic” Smith, who sand on “Shakin’ Street”, married Patti Smith. Yes, that Patti Smith, the one who recorded Bruce’s song “Because The Night”. Also Jon Landau, Bruce’s longtime collaborator and mentor produced the MC5’s second LP Back In The USA, as well as Bruce’s Born To Run. All these songs are connected!!

Our Set 4 Score this week goes to  Philadelphia, Pennsylvania’s Needle Points. Yes, technically they’re no longer a band, but that doesn’t make this tune any less of a banger. After a couple albums and singles, the band amicably split up in 2017 when half of the members moved to the west coast and others wanted to pursue other projects. Nonetheless, we ‘re still left sifting through the wake of their existence in garageland. The non-album track “Cripple Street” played before MC5.

As we had mentioned earlier, Greg Cartwright of Oblivians notoriety also plays in the Reigning Sound, who backed Mary Weiss of the Shangri-Las on her 2007 solo album. So it would be rather fitting to play Greg after the Shangri-Las. It seems like quite the jump from 1965 to 2013, but there’s still a connection there!

Set 5 starts off with Tijuana Panthers before switching gears and tuning in a couple classic road songs. The band’s sophomore album Wayne Interest features production work from Richard Swift. Richard worked some of the best indie rock bands of our time, The Black Keys/Arcs, The Shins, Guster, and yes Tijuana Panthers. Richard even spent some time in my neck of the woods working in International Falls, Minnesota as a teen. Unfortunately, Swift died at 41 this year due to complications from hepatitis as well as liver and kidney distress. But let’s celebrate the amazing work of the man and one of the many bands he helped sound great. Here’s Tijuana Panthers with “Cherry Street”.

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DJ: More great garage rock from Sweden comes our way with Mando Diao and “Mean Street”.  The 2009 traack was asctually on the Need For Speed: Shift video game soundtrack, which is a racing game for all you weirdos out there with your heads in the sand.  So of course it makes sense that we play it on a road episode. Cars, streets, duh. Also it’s a nice lead in to our Main Street set coming up next.

Australian punks The Saints actually opened for AC/DC on their Aussie tours in the mid-late 1970s.  AC/DC, however, soared to massive heights and landed themselves among the rock gods, especially after overcoming the death of Bon Scott. Whether or not you’re a fan, I’d be hard pressed to find another rock band out there whose lead singer dies and they somehow become even MORE successful. We played one of the staples of classic rock radio, “Highway To Hell”.

Last week, in Part 1 of our Road Trip special episode, we played the Circle Jerks’ debut recording of “Wild In The Streets”. This week, we played the original. Singer/songwriter Garland Jeffreys had some notable names help him out with this track. That bwomp,womp clavicle doing a bass line? That’s played by Mac Rebennack Dr. John. Backup vocals include David Peel, the marijuana troubador we’ve featured on our Mother’s Day and 420 episodes.

Heading back down under, we caught a “one-hit wonder” of sorts with Brisbane, Australia’s The Go-Betweens. From the thoroughfarely named 16 Lovers Lane, the big single “Streets Of Your Town” crossed the oceans and made its way onto international shores in the late 80s, fitting in well with the jangly indie pop that was leaking into the mainstream via college radio.

Our final set of the day is all about Main Street. That drive through towns or cities that hosts all the hot spots, hangouts and hubcaps. The Astronauts’ “Main Street” was not only co-produced by the legendary Leon Russell, but apparently he had a part in writing it. Being a Russell fan, I can absolutely hear his influence here. Check out some of the Asylum Choir stuff for more Leon psychedelic sounds. Here are the clean up crew cuts The Astronauts doing “Main Street”.

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DJ: Yeah, Seger. Doesn’t that song just make you want to sit on a main street bench on a hot summer night and watch the lights blur by? Faintly smelling cigarette smoke wafting its way by you from the nearest watering hole. Bob wrote the song about Ann Street in his hometown of Ann Arbor, Michigan. There was a pool hall down on there that had girls dancing in the windows and R&B bands playing on weekends. Perfect!

We’ve featured some great tracks by early Jeff Lynne groups like The Move and The Idle Race on previous episodes, but never jumped into the other side of the spectrum with Roy Wood. Roy formed ELO with Jeff after The Move dissolved, but only lasted a couple years and one album before splitting off and doing solo work. He also formed Wizzard, a similar to ELO orchestral rock band. Roy falls into the same category of weird white eclectic musicians who look like muppets at one point or another in their career, sharing the trait with Dr. John and Leon Russell. Here, see for yourself. Here’s a shot of Roy, Leon, and Dr. John.

For those of you who like to rock out and get hammered, maybe check out Guided By Voices. While many a rockstar enjoys the sauce before, during,  and/or after a live set, GBV frontman Robert Pollard would hall an Igloo cooler full of ice and Budwiesers onto stage for easy access. From the most “proggy” sounding album in the lo-fi rock band’s career, 2003’s Earthquake Glue, that was “The Main Street Wizards”. So much wizardry!

The Zeros first major gig was in 1977 at the Orpheum Theater in Los Angeles. The Germs’ first show ever was opening this gig. What a time! Alejandro Escovedo’s younger brother sang for the band and they were seminal in the forefront of west coast punk in those early days. How amazing it would’ve been to be in LA in the late 70s for the start of punk’s second wave. Sure, New York had plenty of punk rock. And the UK, well they did too. But LA in those days, wow!

Alright everyone, we really hope you enjoyed this super-duper long two part Road Trip episode! Get that road trip in before summer ends and we all go back to school and work and whatever else it is that Autumn brings. Thanks for stopping by and we’ll see you next time on Feel Me Flow!

Check out ourDiscogs_logo.svgList for all of the releases featured!


FMF Episode #51 – Road Trip Pt. 1

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DJ: Ohhhh yeah it’s time to hit the road! Summer’s nearing it’s unofficial end, but that still leaves plenty of time for one last road trip! Hello everyone and welcome to Feel Me Flow. Today is the first in a two-part episode all about that mighty thoroughfare we love to travel on – the road. The vast library of music dedicated to the streets or named after a certain road is amazing and left us with plenty to pluck from. As is our modus operandi around here, we dug deep for some stuff you’re really gonna love, however, you’ll recognize plenty.

We’re turning up the energy right off out of the gates with the Dutch pop punk band Travoltas.  The band made waves in the early 2000s in America when they released the Beach Boys homage/tribute album Travoltas Party!. Much like the Beach Boys’ recording, the Travoltas album featured the band with acoustic instruments in a party like setting, complete with the background singers and bottles clanking. The album also featured a cover of Bad Religion’s “Sorrow”, which turned the song into a ballad. From the classic pop-punk LP Endless Summer, here’s the lead track “One For The Road”. 

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DJ: Vancouver, British Columbia has such a stellar music scene. So stellar, in fact, that some dude from a college radio station wanted to tell the world about it and created a persona to do so some 30 years ago. That dude is Narwuar. Dead Ghosts hail from Vancouver. In the Nardwuar interview with Spanish band Hinds, he gifts them Dead Ghosts’ rare “1000 Joints” 7″. Hinds and Dead Ghosts are Burger Records labelmates. We heard “Girl Across The Street” from DG’s self-titled debut.

New Zealand’s Unknown Mortal Orchestra played a cover of the Grateful Dead’s “Shakedown Street” before that. UMO relocated to Portland, Oregon recently in pursuit of a broader audience in the US. We took that cover from the Red Hot AIDS Benefit Series compilation Day Of The Dead, a Grateful Dead covers album.

Arthur Conley stopped by with “Funky Street” from his 1967 Sweet  Soul Music album. The title track was basically a cover of the Sam Cooke tune “Yeah Man” (one we played on our Yeah episode). Instead of Sam Cooke’s lyrics being about dances, Arthur changed it up to be about famous soul singers and songs.

Prior to the soul explosion of the late 60s, the early 60s R&B scene would be bubbling in anticipation. Ray Charles led that scene out of the 50s and into the swingin’ sixties with hits like his 1961 classic “Hit The Road Jack”. The back and forth between Ray and Margie Hendrix there is so amazing. So much attitude!

Sticking with the funky soul theme, we’re headed back to Muscle Shoals for some Wilson Pickett. Wilson recorded a cover of Dyke & The Blazers’ signature hit “Funky Broadway” just a few weeks after Arthur Conley recorded “Funky Street” there. There must have been something funky in the swamp… Kicking off our Broadway set is “Funky Broadway”; hit it, Pickett!

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DJ: Ahhh Neil. I love how passively aggressively snarky this cover is. We weren’t going to be able to do a Broadway set without featuring the classic show tune in some form or another.  Why not go with a cover from the anti-capitalist, anti-American album Freedom?! Perfect.

Foxboro Hottubs’ song “Broadway” may have been titled and constructed as such from the chord progression in it alone. Its a muddled take on the two-chord back and forth that comprises “On Broadway”, but goes in other directions. Regardless, the Billie Joe Armstrong side-project landed itself in our big street set.

We had a riot on the streets of Melbourne in the middle of our set. The Living End is a rockabilly, punkabilly, psychobilly, whateverabilly band from down under that features the ol’ stand up bass and Gretsch guitar vibe the genre holds so dearly. The difference, here, being a distortion pedal and some seriously talented guitar playing. From the band’s highest selling album Roll On, that was “Riot On Broadway”.

Although the Goo Goo Dolls ended up being your mom’s favorite rock band, they definitely didn’t start out that way. Have you ever dug into their early LPs? Lead singer Johnny Rzeznik even said they were ripping off The Replacements. If you like the ‘Mats, though, check out Superstar Car Wash, which features songs co-written by Paul Westerberg. From the Dolls’ platinum-selling album Dizzy Up The Girl, that was “Broadway”.

We’re gonna get a bit groovier with James Mercer and Danger Mouse’s project Broken Bells. The 2009 smash hit debut LP The High Road and the title track single launched the side project into a fully functioning machine. Danger Mouse’s beats and production set the bar high and combining those features with proper songwriting is a recipe for serious success. See The Black Keys or Jack White. Here’s “The High Road”.

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DJ: White Fence rounds out our third set with a cover of the Gin Blossoms’ song “Allison Road” from the Laginappe Sessions, Vol. 1..  White Fence is the moniker of Tim Presley and is one of the many collaborative outfits that Ty Segall has involvement with. Ty and Tim put out the album Joy in 2018 using the White Fence name again, their second together since 2012’s Hair.

One of the first garage rock covers ever recorded was the Stones’ doing Nat King Cole’s song for a legendary American thoroughfare, “Route 66”. It’s where you get your kicks, you know. Unfortunately, US Route 66 is barely around anymore thanks to the Interstate Highway system.  If you’ve ever seen the movie Cars, you might remember the scene where the highway comes along and the little town’s prosperity fades away. First, the towns died, then the road died. There are still drive-able sections these days, and some sections that are declared National Scenic Byways, so you’re not out of luck should you want to relive the old days.

Natural Child’s debut album 1971 was ominous in the name as well as the cover art. This was a time machine. The Nashville band released their debut album on JEFF The Brotherhood’s Infinity Cat Recordings in 2011. Leading off that LP was “Easy Street”, sandwiched in the middle of our set.

There’s just no way we could avoid playing the Bobby Womack classic we named an FMFFM station after. The soul soundtrack to the 1972 crime drama Across 110th Street was written and performed by Bobby Womack and Peace, with the score songs being composed by J. J. Johnson. Tarantino used the title track a few times in his blaxploitation throwback Jackie Brown.

Coming up in Set 4, we’re at a Dead End. Well, just for the set. Starting things off is the legendary Lou Rawls, who was referenced in Arthur Conley’s “Sweet Soul Music”. Lou must’ve really enjoyed beer. Starting in the mid-60s, he appeared in commercials for Spur Malt Liquor and Rainier Brewing Company as well as working with Budweiser throughout the 70s. One of Lou’s signature tunes is up next. Here’s “Dead End Street”.

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DJ: The Kinks’ “Dead End Street” showcased Ray Davies’ love for British Music Hall. Much like their tune “Sunny Afternoon” the bouncing piano and sulky lyrics combine for a juxtaposition of jolly and joyless. Singing about being poor while adding a happy sound to it seems to be what rock and roll is all about. The blues is the genre you’re looking for if you want to feel bad.

The dead Kennedy brothers are interred next to each other in a double grave of sorts, and some say they’re together in the Heavens. That was my weird sentence connecting all 3 artists played. Heavens was the side project of Alkaline Trio/Blink 182 frontman Matt Skiba and producer Josiah Steinbrick. Josiah produced White Fence’s Live In L.A. cassette which would make sense considering he played bass on the recording. From their one and only LP, that we heard Heavens with “Dead End Girl”.

Our Set 4 Score this week goes to Minneapolis’ Minnesota’s Double Grave. DG just released the 4 song strong Empty Hands EP in April of 2018 and are playing shows supporting the release throughout the summer and fall. The band shares a bassist (Bree Meyer) with fellow Set 4 Score featured artists Scrunchies. We played “Deadend” from their latest EP, but sure to check out their Bandcamp page for more music!

Dead Kennedys played “Dead End” from their sophomore 1982 release Plastic Surgery Disasters. The East Bay Ray penned tune laments about how nothing really matters because we all die in the end anyway, a dead end. Not the most uplifting of tunes, but it rocks out. 

Next up is swamp pop from Bobby Charles. Charles hung around with the guys from the Band and Dr. John, being from the New Orleans area. Bobby also played “Down South In New Orleans” during The Band’s farewell show The Last Waltz. His performance didn’t make the cut for Scorcese’s movie, but the song can be found on the triple-LP soundtrack. From Bobby’s self-titled solo debut, here’s the lead track “Street People”.

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DJ: Moar punk covers! It’s been tradition in punk rock to cover pop songs since the very beginning. See The Ramones doing “California Sun” or the Sex Pistols’ Sid Vicious singing “My Way. Circle Jerks recorded the Garland Jefferys song “Wild In The Streets” in 1980 and it made its way to Rodney Bingenheimer. The Posh Boy Rodney On The Roq compilation featured the original version of “Wild” along with some of the most legendary punk songs ever. “Amoeba” from Adolescents, “Bloodstains” from Agent Orange.

There was a time in the late 90s/early 2000s when every punk cover you could find was “done by” Me First And The Gimme Gimmes; on Limewire and Napster, that is. Hell, I even saw the Gimme Gimmes labeled as Blink 182 doing “Seasons In The Sun”. How does that even sound remotely the same? Anyway, the punk party boys donated the John Denver song “Country Roads” to us from their 1995 Denver 7″, or the Have Another Ball B-sides LP.

Jimi Hendrix dropped by with “Highway Chile”, the B-side to “The Wind Cries Mary”. The track was an autobiographical story of Jimi’s journey through America to become who he eventually became. The Animals’ Chas Chandler produced the record.

The climbing guitar riffs of Big Star’s “In The Street” played well off of Bobby Charles’ “Street People”. The tune is perhaps best known nowadays as the theme song to That 70’s Show after Cheap Trick recorded a cover for it.  Lots of covers on our road trip! The original comes from Big Star’s #1 Record.

Our final set starts off with some Irish road music followed by Bob Dylan’s highway legacy. Shane McGowan and The Pogues made Celtic music cool again with the fringe punk rock they incorporated into. By the 90s, the band was on the outs, and Hell’s Ditch would be the last album with Shane. Joe Strummer produced the LP and stood in for Shane on tour. From the last “true” Pogues LP, here’s “The Sunnyside Of The Street”.

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DJ: Sometimes that last track is a bit of a “no apologies” track, and today might be a perfect example.  Bob Dylan’s son Jakob found success of his own in the late 90’s with his band The Wallflowers. Their sophomore album Bringing Down The Horse scored big with the adult contemporary/adult alternative crowd and sent them mainstream fast. We played one of their biggest selling tunes “6th Avenue Heartache”, a precursor to Part 2 of our Road Trip which will have both an Avenues and an Alleyways set.

Jack Frost himself showed up for his zippingly perfect “Highway 61 Revisited”. The title track off of the album that spawned “Like A Rolling Stone” is nestled up nicely amongst some of the finest writing any person, of musical nature or poetic, has ever written. Yes, I’m a big Dylan fan.

X actually covered “Highway 61 Revisited” during the sessions for their 1987 LP See How We Are. The lead single “4th Of July” included another Dylan cover recorded during those sessions, “Positively 4th Street”, as the B-side. They must have really been in a Dylan mood in the late 80s, eh?

Dropkick Murphys rounded out the one-two punch of Irish punk for our road trip. Taking big inspiration from The Pogues, yet turning up the distortion a bit more, the Boston Celtic punk band has survived many lineup changes and mainstream success. Remember how big they got after their song “I’m Shipping Up To Boston” was featured in Scorcese’s The Departed? That song seems to play at every sporting arena nowadays.

We hope you enjoyed Part one of our two-part Road Trip episode! Next week we’ll cross the finish line with some more songs about roads, streets, alleys, avenues, highways, bi-ways, my ways, and your ways. We’ll see you then!

Check out ourDiscogs_logo.svgList for all of the releases featured!


InFlowences: Scrunchies

After featuring them as the Set 4 Score in our Hair episode, we spoke with Laura, Danielle, and Bree of Minneapolis, Minnesota’s Scrunchies to discuss some of the artists and songs that have influenced them throughout their music career.  Listen to the entire playlist or each song individually and read each members’ backstory below! (📷 by Tessa Loeffler)


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Danielle Cusack “My mom used to always play this CD she had by Mission of Burma, and I was always entranced with how each instrument & voice was so imperative to the song & how it would be completely different without it. A great example of that is through this song & how the band moves through the twists & turns of the riff, and the end of this song where they all harmonize & do a vocal cannon over the line “what could I say to that” that gives me chills to this day.”

Laura Larson:  “I’ve been playing guitar in bands since I was 14 or 15 years old and my influences have always skewed towards the guitar-driven heavy, cathartic and deeply personal feminine/feminist rage- from Jack Off Jill in my teens, through Hole, PJ Harvey, Sleater-Kinney… and in the past handful of years there has been a drought of this particular brand of ROCK in lieu of bands skewing more towards the clean, tropi-pop, easy-listenin’ indie. Don’t get me wrong, I love a good head-bopper and I looooove pop music but when Romantic by Mannequin Pussy came out it was like the grunge/punk veil was re-lifted for me, like a fucked up homecoming of being allowed to experience and emote spite, love, fear, all of these emotions that seem to ebb and flow in vogue and accessibility for womxn. Marissa’s  guttural screams dovetailing into sweet pop melody while she rolls around of the stage is everything I want and need in my rock bands and kicked my ass right out of bed and back into guitar brat mode. .”

Bree Meyer: “I was listening to this band a lot when I started playing music a few years ago. They have a sound and swing to their music that is uniquely theirs and that is what I want in the music I listen to. They’re from Lincoln, NE and if you didn’t already know the Midwest is pretty alright.”

Bree Meyer: This song sounds so huge and I love everything about it. Hop Along has been working so hard for so long and that is something I look up to.”

Danielle Cusack: “I remember the first time I heard this song and became immediately mesmerized by how amazing everything in the song sounded (from the riff, to the drum part, to Corin’s catchy melody). It’s the #1 song I list as an influence for my drumming, and probably for my songwriting as well. Sleater-Kinney is definitely one of the most underrated rock bands of all time, and Dig Me Out was really the first CD to peak my interest in wanting to be a musician”

Laura Larson: “I always think of Sauna Accident as a band that Kurt Cobain would have on one of his musical influences lists. They are the epitome of how unique and strange while at the same time comfortingly familiar a 2-piece garage rock band can be. I listen to Sauna Accident when I want to be reminded that it’s possible to get weird without being over-complicated. Sophie’s voice veers around these post-punk yelp-hooks that always make me think “oh my god, why didn’t I think of that?””

Laura Larson: “We played with Squid Ink from Fresno, CA twice when we were on tour this summer. Not only do they write seriously catchy rhythm-driven punk songs (sometimes with TWO basses!! and sharing members with Fresno feminist punks Fatty Cakes and the Puff Pastries) they write personal/political lyrics that are funny and real and important.  Lifted from their own bio, Squid Ink “creates punk music for womxn and femmes combating the misogynoir, white supremacist, capitalist, actual dystopia that we live in.” Super amazing people and musicians and they have an EP coming out super soon!”

We at Feel Me Flow want to thank Scrunchies for taking the time to chat with us about their InFlowences.  Scrunchies is playing the First Avenue Mainroom this Saturday 8/18/18 with Jessica Manning and Bad Bad Hats. There are still tickets available so be sure to grab some before they’re gone! Also, don’t forget to head over to Scrunchies’ Bandcamp page and pick up the aptly named Stunner released via Forged Artifacts!

Check out our Discogs_logo.svgList for all of the releases featured!


FMF Episode #50 – The 50 States

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DJ: Fifty! Fifty episodes! Hello everyone and welcome to FMF’s special fiftieth episode! We bounced and boggled and toiled and toggled with all kinds of ideas on how to celebrate 50 and decided on something that might represent any one of us. We’re going a trip around America today, with a song for each of the 50 states in alphabetical order.  Remember America? Before it turned into a dumpster fire? Anyway, the episode runs about 3.5 hours instead of the normal 2, so prepare yourself for the journey!

As is the status quo around here at FMF, we made it a point to dig a little deeper for the song representing each state.  You won’t be hearing “Georgia On My Mind” today, or “New York, New York”.  In fact, we really wanted to avoid cities in this episode as well.  We might end up doing a US cities episode some day and didn’t want to double dip.

So, my friends, let’s begin the journey. We start with Alabama.  Alabama became the 22nd state in 1819, but less than 50 years later would secede from the USA and declare Montgomery, their state’s capitol city, as the Confederate States of America’s state capitol.  Alabama has some beautiful scenery, but is also one of the objectively worst states the US has to offer. According to the US News Overall Best States Ranking, Alabama suffers from poor education, poor healthcare, a high amount of crime and corrections, et al. The quality of life, however, is ranked 7th. The common theme with the lower ranked states is that the quality of life is still pretty high. Crazy how that works.

Anyway, moving onto the music. Phosphorescent is the alias of Matthew Houck, an Athens, Georgia to Brooklyn, New York transplant.  Matthew scored it big with his “Song For Zula” in 2013 off of Muchacho. From his previous LP, Here’s To Taking It Easy, here’s Phosphorescent with “It’s Hard To Be Humble (When You’re From Alabama)”.

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DJ: Marvin Gaye rounds out our first five states with an ode to the west coast paradise or hellhole know as California.  I suppose it depends on who you ask, or where you look. DTLA, maybe hellhole? Redwood National Park, paradise. Marvin Gaye’s M.P.G. album was a bit more psychedelic than his previous efforts thanks to Norman Whitfield’s songwriting and production.  The album’s biggest single would be the lead track “Too Busy Thinking About My Baby”, but we went with “I Got To Get To California” for thematic reasons , obviously.

Soul from the South played before Marvin with Tony Joe White’s “They Caught The Devil and Put Him in Jail in Eudora, Arkansas”.  Tony Joe made himself known with the swamp soul tune “Polk Salad Annie”, especially after Elvis started covering it at shows. If you’re into vinyl, pick up an album of his from the used bins sometime.  I’m sure it won’t be more than a couple bucks and it’ll be worth it for the soulful storytelling..

Kings of Leon hail from the South, the band being from Nashville, Tennessee. The Followill brothers Caleb, Jared, Nathan, and cousin Matthew Followill formed the band 1999.  After two perfect garage rock throwback albums, the band start to explore a more broader sound in the rock world.  They made their way to the mainstream in no time and by their third LP Because Of The Times, the band was an international name. The album closer “Arizona” made it’s way into our episode.

We played Sweden’s The Maharajas on our Yeah episode a while back. Their tune “Yeah Yeah” was actually sequenced right before the track we played today, “Alaska Beach”, on their album In Pure Spite.

Our next set has a bit of punk and a bit of blues, followed by the beautiful soul sounds of Gladys Knight and The Pips. Starting things off is the LA  garage rock group The Buttertones. Dakota Böttcher of Cherry Glazer joined the band in 2014 along with London Guzmán and the new five piece put out American Brunch in 2015. Let’s start off set two with “Colorado” from that album.

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DJ: Ooooh how sweet that tune is. 1973’s Imagination would give Gladys Knight & The Pips their first and only number one song with “Midnight Train To Georgia”.  We played a previous hit single “Friendship Train” on our Best Friends episode. Yeah, I know we said we were playing deep cuts today, but I figure jumping away from “Georgia On My Mind” and into “Midnight” was a big enough leap. There’ll be plenty of diamonds in the rough throughout the show.

Laura Jane Grace and Against Me! played an ode to their home state in hopes it would fall into the ocean.  “Sink, Florida, Sink” (the electric version) comes from the Rock Against Bush Vol. 1 protest compilation. The comp featured unreleased tracks from punk bands to raise awareness against the war-hungry administration led by George W. Bush.

George Thorogood & The Destroyers’ first LP broke necks with whiplash when critics heard it. What?! A white guy from Delaware?! The Destroyers were originally called the Delaware Destroyers in honor of their home state.  An 8-minute plus cover of John Lee Hooker’s One Bourbon, One Scotch, One Beer”, would launch George’s career and keep him a staple of 80’s radio. Great blues slide guitar from that guy.

Government Issue were a D.C. punk band that formed in the early 80’s, around the time Minor Threat was taking a hiatus. Brian Baker of Minor Threat joined up with Government Issue and recorded the 1982 EP Make An Effort with then before rejoining Minor Threat. A few years later in 1988, GI would release their final album Crash, including the song “Connecticut”.

The next set starts off with a couple of no-brainers. Surfing? Better check out “Hawaii”…

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DJ:  Eddie Dean spent the 1940s in nearly every country western flick you could see at the theater. He wrote 80% of the songs he sang in the movies he starred in, too! After a career of screens, Eddie moved behind the mic in the 50’s. In 1961, he realeased a third LP Hillbilly Heaven, which we took “Iowa Rose” from.

R. Dean Taylor put out a great blue-eyed soul album in 1970 called I Think, Therefore I Am.  The songs on the LP that weren’t soul covers were written by Richard Dean Taylor, with some songs having help from the Motown trio Holland-Dozier-Holland. Rare Earth Records put out the debut album under the Tamla umbrella. We heard “Indiana Wants Me” from that album, R. Dean’s biggest hit single.

Skip James recorded a plethora of singles in 1931, but due to the Great Depression the recordings and Skip faded away into obscurity. That is, until the 60s, when some blues enthusiasts found him in a hospital in Mississippi. Legend has it that the rediscovery of Skip and Son House around that time led to the blues revival of the 1960’s, especially the later years. Skip recorded four albums in the resurgence, mostly old tunes redone. We played “Illinois Blues” from his final album Devil Got My Woman.

There honestly isn’t a whole lot of great rock music about the state of Idaho.  Thankfully, The B-52’s recorded a song that would change that. 1980’s Wild Planet saw the band return to the New Wave/Punk styles of their previous album before fading into the 80’s synth mess. They had a return to the top again in the early 90’s when “Love Shack” hit the airwaves, though.

Procol Harum’s 1969 album A Salty Dog featured the title track as a single. We’re gonna go a little deeper, though and check out a tune called “The Devil Came From Kansas”. The album would be the last of the original lineup, before members left to pursue other things. Let’s get it started with Procol Harum.

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DJ: Mmmm, ice cream. Diamond Youth’s ode to Maryland Ice Cream also included walking in the sand and holding hands. What a beautiful date! From the appropriately titled EP Shake, that was “Maryland Ice Cream”.

The Deadly Syndrome had that sort of Silversun Pickups, tech-rock kind of vibe when they were active in the late 2000’s. Crash Richards was in the band, and after they split would become a full-time member of Edward Sharpe & The Magnetic Zeros. From their final LP All In Time, we played a shoutout to the most Northeastern state, “Maine”.

Garage rock throwbacks The Detroit Cobras rocked the middle of the set with “Down In Louisiana”. The comes from the 1996 Over My Head / Down In Louisiana single and was originally written by a guy named Polka Dot Slim.

Another guy who wrote songs that other bands covered for success is Neil Diamond. Along with hits like “I’m A Believer”, “He Ain’t Heavy, He’s My Brother”, and “Red, Red Wine”, “Kentucky Woman” would be a hit sung by many a mouth. Deep Purple famously covered the latter, with The Monkees, The Hollies, and UB40 perhaps being the most famous for the other three mentioned.

Fat Mike of NOFX is gonna tell us about why he moved from Massachusetts to the Bay Area as a kid. Spoiler alert, it’s because his parents moved. Nevertheless, a song to the state must be played! Here’s NOFX with a track from the super depressing Cokie The Clown EP, “Straight Outta Massachusetts”.

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DJ: EL VY is the side project from Matt Berninger of The National and Brent Knopf of Menomena. Much like electronic side projects from duos of the past, the album showcased Brent’s electronic programming with Matt’s trademark low-key vocals. We heard “Happiness, Missouri”, the oxymoronic title track from 2015’s Return To The Moon.

We heard a couple of Minnesota bands before El VY. The throwback stylings of The Cactus Blossoms landed them on the Showtime revamp of Twin Peaks. The duo plays an early-days-of-country toned music with big influences being heard from The Everly Brothers. Their debut album You’re Dreaming also came out in 2015.

Minnesota band The Shackletons put out an ode to the Midwestern mavens of MN with “Minnesota Girls”. Local radio station 89.3 The Current has picked up the song for heavy rotation this past year with the possible hopes of finding a new state anthem? I mean, we have plenty of art to go around here, but there really isn’t much talking about the beautiful Midwestern women of Minnesota…ecept for nearly all of Prince’s catalog, I suppose.

That K.M.C. Kru track is one of my favorite early rap samples.  I mean, who hears “The Devil Went Down To Georgia” and thinks, “Yeah, there’s a beat in there.”?! Regardless, what a jam! The song made it to the top 50, but Tracey “T The Sarge” Edmond was busted for slinging drugs and sentenced to 10 years. 10 effing years for drugs! Too bad, T.

Next up is Frank Zappa and The Mothers with one of their better known songs, “Montana”. The b-side to “I’m The Slime” comes from 1973’s Over-Nite Sensation and features Tina Turner and the Ikettes on backing vocals. Frank Zappa and Tina Turner in the same room. That energy, though. Here’s an ode to raising a crop of dental floss.

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DJ: Apparently the guys from Gainesville didn’t have the greatest experience in New Jersey and decided to never go back. They did, in fact, go back, though. “Never Going Back To New Jersey” comes from LTJ’s groundbreaking second-wave ska-punk album Losing Streak.

Sonic Youth’s 13th album Sonic Nurse showcased the band’s calling card in the song length with every song but one being between 5-8 minutes. “New Hampshire” name drops guitar legends Johnny Winters and B. B. King before suggesting that Steve and Joe were gonna “lead on”. I wonder who Steve and Joe are…?

Did you ever think you’d hear Clint Eastwood sing? Not too shabby, eh? Well, it was ok, I suppose but it wasn’t Tony Bennett or anything. Clint has acted in some great movies, he’s also directed some great movies. Clint Eastwood is now also famous for his childish stool arguement between him and a stool that represent Barack Obama. Anyway, that was “Sierra Nevada” from his country western songs album.

Low Hum released a debut EP in 2018. The fuzzy low hum of their guitars and sludging tempos leave a bluesy based taste in your mouth. The new single “Nebraska” not only fits FMF’s vibe well, but is a perfect addition for our trip around America.

A couple of originals grace the start of our next set. First, we hear Johnny Horton and his song “Out In New Mexico”. Another Johnny would cover this song for his 1964 album Original Sun Sound Of Johnny Cash. Let’s hear Johnny Horton’s original version from his 1959 Sings Free And Easy album.

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DJ: I know, I know. No CSNY?! I mean, that song is phenomenal, one of a kind. We just wanted to dig a little deeper, that’s all! Good thing we did, too, because we scored ourselves a Black Keys track. The track comes from an exclusive preordered 7″ that featured DEVO on the flip-side, Akron, Ohio’s other famous rock band.

Canada’s Thrush Hermit squeaked in with a song about their neighboring state, “North Dakota”. Thrush featured Joel Plaskett, who would go on to The Joel Plaskett Emergency and produce artists like The Flashing Lights. Thrush Hermit also hails from Halifax, Nova Scotia, home to fellow alt rock band Sloan.

You may be saying to yourself, where the hell is North Cackalacky? Well, it’s north of South Carolina. Cackalacky is a slang term for either of the Carolinas that no one really knows the origin of. The nickname first made its pop culture appearance in “Scenario” by A Tribe Called Quest. “East Coast stompin’, rippin’ and rompin’, New York, North Cak-a-laka and Compton, checka-checka-check it out…” rhymes Q-Tip. We played Greg Cartwright (of Compulsive Gamblers and Oblivians fame) and Reigning Sound with their tune “North Cackalacky Girl”.

Hello had a hit in Britian 1975 with their tune “New York Groove”. The British glam rock movement was in full swing and this song and band fit in astutely well with it. Three years later, the Kiss members would each release a self titled solo album.  Ace Frehley recorded “New York Groove” and scored his own huge hit right here in the US, topping all other Kiss members’ solo efforts.

Coming up in our next set is the legendary Oklahoman Leon Russell. Some other famous Okies include The Flaming Lips, Chet Baker, Hanson, Hinder, The All-American Rejects. Although Merle Haggard wrote the song “Okie From Muskogee” in first person, he was from California. Oklahoma voted to legalize medicinal marijuana in 2018, effectively contradicting Merle’s famous line “we don’t smoke marijuana in Muskogee”. Here’s the Asylum Choir founder and Okie piano legend Leon Russell with “Sweet Home Oklahoma”.

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DJ:  Richmond, Virginia group Black Girls changed their name after 3 albums under the moniker. They were receiving backlash from people over the name, which makes sense. The group is now called Rikki Shay, a much more family friendly and non-controversial name. They even have a tune called “America“!

The Front Bottoms have made their way onto the show a few times now, including a song from the same self titled album today’s tune is taken from. We played “Father” during our Father’s Day episode last year, though today we heard “Rhode Island”.

Pennsylvania’s craizest rap-rock-dance group The Bloodhound Gang played their ode to their home state, “P-fuckin’-A”. Well, it’s more of a description of a wasteland than an homage, I suppose. With lines like, “We are the queef after a porn star breaks the gang bang record”, you can’t help but think they have a love/hate relationship with home. Haha.

More Canadians crept onto the set with Yukon Blonde doing a tune about the beautiful shores of Oregon. Yukon Blonde hails from Kelowna, British Columbia, Canada, a town that actress Evangeline Lilly also hails from. Lilly is perhaps best known for her role in Lost, an ABC drama mystery show that a plethora of references to previous mysteries, including the 1937 film about Shangri-La, Lost Horizon. Some of the scenes from Lost Horizon were filmed at Oregon’s Mount Hood.

We’re gonna get quiet for a bit with an early demo from the genius of Liz Phair. Phair recorded three demo tapes before releasing her incredibly well done debut Exile In Guyville.  The three demos were rereleased in 2018 as part of the 25th Anniversary Super Deluxe Edition of Exile. Here’s Liz Phair with “South Dakota”.

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DJ: There’s Bobby Womack doing the old jazz standard “Moonlight In Vermont”.  The tune was written by John Blackburn and Karl Suessdorf and published in 1944, and is unique in that not one line of the song rhymes. It’s also comprised almost entirely of haikus. Crazy.

Psychedelic country rockers Futurebirds buzzed in with the side 1, track 1 off of their debut LP Hampton’s Lullaby, “Johnny Utah”. Futurebirds have shared the stage with Blitzen Trapper, a band we’ve not only played a few times on FMF, but we also love their live shows!

There are a million songs about Texas. Many of them Country-Western, Blues, and Rock. Stevie Ray Vaughan’s version of “Texas Flood” is perhaps the most insane electric blues guitar playing you could ever feast your ears on, but it was actually a cover of an old standard first done by Larry Davis in 1958. Both versions are fantastic for their own reasons, though. 

I mean, of course we’re gonna play “Tennessee” by Arrested Development. Though, there were a few votes for “Tennessee Jed” by the Grateful Dead or Levon Helm. Arrested Development sampled Prince’s “Alphabet St.” without asking permission to, and apparently Prince waited until the song was popular before demanding $100k in royalties.

We’re nearing the end of our journey across America. Isn’t it crazy!? Coming up next is Jimmy Reed with the lone single from his 1959 album Rockin’ With Reed. The single made it into the top 100 and landed at 93. Pretty impressive for a standard blues track. That harmonica, though. Here’s “Down In Virginia”.

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DJ: The Western Collection: 25 Cowboy Classics compiled 25 of Gene Autry’s Western tunes. Not Country tunes. The difference being Western songs are more like songs you’d hear out on the trail after a long day of rounding up cattle and sitting by the campfire rather than the Honky Tonk of Country music. Showtunes, really. Capping off our show was “The Hills Of Wyoming” a song that capped off that compilation as well. Yeah, it was old and slow and quiet, but it was actually a tribute to my grandmother Jane who just passed away. The song was from her era.

Locksley hails from the college town of Madison, Wisconsin. On their most recent album, the self titled 2011 effort Locksley!, the band recorded an ode to their home state.  Madison hosts one of the country’s wildest Halloween celebrations every year, blocking off streets for people and such.  The college kids on acid those nights have some of the craziest trips, I heard anyway…

Charlotte, North Carolina, or Cackalacky, is home to Velcro Mary. Velcro Mary is the moniker of Jason Erb. Jason has released a few albums worth of material along with a handful of solo singles. His latest, Flight Risk, hit the net in May of 2018. We played “West Virginia” from the Velcro Mary 2011 debut Dead Horse Rodeo

Beach Vacation formed in 2013 after performing together in a high school talent show. A few weeks after formation, they released the debut Maritime EP. We played “Washington Weather” from that debut and if you enjoyed it be sure to check out their 2018 single “Gossamer Love“.

Holy cow, what a show! We’ll let Jimi play us out with his amazing rendition of a terrible national anthem, “The Star Spangled Banner”. I just really don’t think its that great of a national anthem. “Oh, Canada!” on the other hand…haha! Anyway, thank you SO much for taking the tour of the States with us today and celebrating 50 FMF Episodes! Amazing. If you’re headed out on a road trip this summer before the school year kicks in, be sure to check back next week when we take our Road Trip. Oh yeah, and school starts soon too… See you next time on Feel Me Flow!

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FMF Episode #49 – Cats

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DJ: I want chicken, I want liver, Meow Mix, Meow Mix please deliver! Hello again and welcome to another episode of Feel Me Flow! Remember that damn jingle? How could anyone forget?! Last time we met, we dug into the dirty paws of dog songs.  This week, we’re all about cats and kittens! “Ketchup, cats and kittens” as Sir Paul McCartney says in “Monkberry Moon Delight“.

We left that tune off the list today, but boy, oh, boy do we have some amazing feline fun ahead of us! A cat fight will most likely happen a bit later on, but we’ll tame it down with a set about cool cats. Ya know, the kinda cats that wear black sunglasses at night? We’ll have a double Set 4 Score from previously played artist The Squids, as well as a band out of Bellingham, Washington called Cat Bomb. 

Furrrrst off, we’ve gotta pay homage to the rockabilly giants Stray Cats.  Brian Setzer helped rekindle the rockabilly fire that was dying out in the 70’s thanks to his Gretsch and taste for the hot rod culture. The late 90’s swing revival would see Brian’s solo work gain traction, but let’s start off with his first throwback sound.  The theme song to the band and perhaps the most recognized neo-rockabilly tune out there, here’s “Stray Cat Strut”.

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DJ: The lead track, “Kitty”, off of The Presidents of The United States Of America’s self-titled debut album immediately prepared you for what the rest of the album would entail. Weird, bass-driven alt rock with quirky lyrics. I suppose that’s what most of the 90’s Nirvana-spawns were going for in a way, though. Be weird and dirty with catchy hooks and you’ve got a seller; sort of like Bob Dylan used to do back in the 60’s.

The Rolling Stones’ Beggars Banquet withdrawn album cover depicts a toilet splashed in graffiti including a long curling arrow pointing to the flush handle that read “Bob Dylan’s Dream” on the other end.  The back cover of the LP contains more graffiti which is supposedly written by Mick and Keith. “Stray Cat Blues” is the only song title that is missing from the wall, unless you can find it somewhere? I’ve never been able to. You can own a copy of the photo for the low price of $2,200.

The Stones covered Rufus Thomas’ “Walking The Dog” on their debut 1964 LP. Rufus recorded the answer song to Big Mama Thornton’s “Hound Dog” just two weeks after its release. “Bear Cat (The Answer To Hound Dog)” flipped the gender roles and pointed the finger back at feisty women. “Bear Cat” wasn’t nearly as successful as “Hound Dog”, though, which makes sense.

Say Anything started out as just Max Bemis and Coby Linder.  The two of them recorded the debut album …Is A Real Boy together in 2003-04 with Coby on percussion and drums and Max playing bass, guitar, singing, and keyboards with additional help from the production team. The single “Alive With The Glory Of Love” preceded “Yellow Cat (Slash) Red Cat” on the album and would kickstart the band’s career. 

Speaking of minimal players with big sound, Minneapolis’ Kitten Forever features only a bass guitar, drums, and vocals sung through a telephone. The group also features previous Set 4 Score artist Laura Larson of Scrunchies. Check out the lead track “Fun Fact” from their new 2018 LP Semi-Permanent. This song has so much power and so does the band when playing live. Here’s the four-string fierceness of Kitten Forever.

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DJ: That’s the Let’s Dance version of “Cat People (Putting Out The Fire)” from David Bowie and Giorgio Moroder. Giorgio scored the soundtrack to the movie Cat People and enlisted Bowie to sing for the title-track.  The soundtrack version, which features a more techno feel and longer intro, was also played during the movie theater scene at the end of Inglorious Basterds. If you’ve seen the movie, you would recognize the significance of the song and title during that scene.

Anton Newcombe, the founder of The Brian Jonestown Massacre, teamed up with Toronto-based singer Tess Parks in 2014 to record a French-inspired blues-rock album. The result was a perfect mix of sleuth and saccharine. The tune “Cocaine Cat” sounds like a long-lost Serge Gainsbourg cut from an English-speaking ,Canadian-born singer.

Speaking of French recordings, Elton John recorded “Honky Cat” and all of Honky Chateau at the Château d’Hérouville in France in January 1972.  The lead track off of the Gold-certified Honky Château was the second single released from the album following the enormously huge “Rocket Man (I Think Its Going To Be A Long, Long Time)”.

“Honky Cat” played well off of Lee Dorsey’s “The Kitty Cat Song”. Lee’s perhaps best known for “Ya Ya” and “Working In A Coal Mine”, but also recorded the Allen Toussaint tune “Sneakin’ Sally Through The Alley”.  Robert Palmer would cover that song on his debut album of the same name with The Meters and Lowell George backing him on the record.

After Prince’s untimely death in 2016, the war began over the vault of unheard recordings he had amassed over his career. Things have started to filter out, and the Deluxe Expanded Edition rerelease of Purple Rain in 2017 featured an entire disc titled From The Vault & Previously Unreleased. One of those unreleased gems is the sunshine synth pop “Velvet Kitty Cat”. Gee, I wonder what euphemism Prince is chasing here.

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DJ: Kurt Cobain listed Big Black’s Songs About Fucking in his “Top 50 by Nirvana” journal entry. This song in particular stands out as a huge inspiration for Nirvana’s “Scentless Apprentice”. In fact, I can’t really hear the latter without picturing the former in my head. What’s more, is that Big Black’s Steve Albini recorded Nirvana doing that song in 1993 at Pachyderm! What a trip!

Muddy Waters got all psychedelic in 1968 and plugged his blues guitar into a fuzz pedal. The producers at Chess wanted his classic electric blues to appeal to a more modern, young audience. The kids those days were into noise, specifically noise that would sound good when tripping on acid. Some of the songs fell a little flat, but most of the album turned out to be the groundwork for the fuzz rock that showed up a few decades later. We heard “Tom Cat” from that psych-blues effort.

Little Willie John recorded “Leave My Kitten Alone” in 1959, just 9 years before he would meet an early grave. After finding success in the 50’s with hits like “All Around The World” and “Fever”, he would struggle to gain ground in the 60’s. In 1964, John was punched by a man who took the chair of one of John’s acquaintances. John retaliated with a knife and killed the man. At 27 years old, Little Willie John was sent to prison in Walla Walla, Washington. At 30, he’d have a heart attack and die in jail. Crazy. The Beatles recorded “Leave My Kitten Alone” for Beatles For Sale, but ultimately left it off the record. It surfaced in 1995 on the Anthology 1 compilation.

Set 4 Score champs Peach Kelli Pop sped by with “Hello Kitty Knife” from 2018’s Gentle Leader. Although Allie Hanlon is a dog foster parent, I’m sure she’d find space in her heart to represent cats today. Cats, dogs, they’re all animals and need love. PKP has been on tour since April and shows no signs of slowing down until at least October. Go get their new album, its so good!

Speaking of the Set 4 Score, our next set thwarts us into a cat battle! The Cat Fight set starts off with The Kills’ “Cat Claw”. The band’s 2003 debut album Keep On Your Mean Side was an instant hit with critics. Rolling Stone called it “dark, kick-ass garage rock”.  Yep, that’s pretty apt.  Singer Alison Mossheart also fronts the Jack White side-project The Dead Weather. Here’s “Cat Claw” starting off our Cat Fight set.

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DJ: O Shrek Yes! Los Angeles surf-garage outfit The Squids put out a stellar album in 2018. The aforementioned O Shrek Yes! generated “Junk” for our Garbage episode and also features a group of great tunes surrounding it.  “Feline” follows it on the album, but check out “Goner” and “Is It The Same?” for more sunny garage gold.

Another Jack White association tussled with us before The Squids. Olivia Jean is a member of The Black Belles, a goth-rock garage outfit out of Nashville. Jack produced The Black Belles debut album along with Olivia Jean’s solo effort Bathtub Love Killings. I mean, if you couldn’t tell by that signature guitar soloing during this song, maybe listen to some of his solo stuff. Its uncanny how much Jack loves that guitar tone. Olivia played “Cat Fight” from the solo LP.

Cat Bomb hails from Bellingham, Washington.  The band is themed on cats, with song titles including “Cat Fight”, “Cataclysm”, “Alpha Cat” and so on.  The band’s 2nd demo EP Smile features “Cat Fight”, a song that walks like the riff of Papa Roach’s “Blood Brothers” before jumping into an old school punk/late 70’s hard rock cocktail.

Sweden has such an incredible garage rock scene.  In general, Sweden has an incredible music scene. EDM/Electronic artists like The Knife, pop groups like ABBA, and garage rock and punk bands seem to spit out great hooks. Stockholm’s The Maggots released This Condition Is Incurable on 10″ wax and CD in 2002, featuring “Cat Fight”. The band isn’t internationally known, but stacks up with The Hives and The Hellacopters when it comes Sweden’s garage scene. 

Had enough fighting? Us too. How about we cool things down a bit with our Cool Cats set. The second single released from London’s Palma Violets, “Step Up For The Cool Cats” couldn’t quite match the success of “Best Of Friends”, but still carried the band through to international fame.  After the release of their second LP Danger In The Club, the band called it quits. Here’s that second single leading off our Cool Cats set.

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DJ: If you’re a repeat listener of the show, you’d know how much we love the Australian scene right now. The Babe Rainbow hails from Byron Bay, New South Wales and plays an early 70’s/late 60’s throwback style of surf pop rock. I hear hints of T. Rex, Sgt. Pepper’s Lonley Hearts Club Band, maybe a dash of Dick Dale thrown in for beach vibes. From their brand new LP Double Rainbow, released July 13, 2018, that was “Cool Cat Vibe”.

We mentioned The Beatles’ Anthology 1 earlier in the episode when Little Willie John showed up. They had covered “Leave My Kitten Alone” for Beatles For Sale, but left it off. The Beatles’ cover of “Three Cool Cats” featured George Harrison on vocals and the infamous Pete Best on drums. The song was one of 15 compiled on a demo made for Decca Records in London. Decca passed. They passed! George Martin’s Parophone would pick them up three months later, and its a damn good thing they did.

About a year and a half after The Beatles’ final performance on the rooftop of the Apple Corps building, a brand new London band would play their first performances known as Queen. Queen built a worldwide following by the end of the 70’s and in the 80’s headlined one of the biggest concerts ever with Live Aid. After shifting gears in the early 80’s with Hot Space, the band found collaborative help from David Bowie and the album’s smash hit single “Under Pressure”. Bowie sang backing vocals on “Cool Cat”, but had them removed from the song just before the album pressing.

Squeeze played us the title track from their 1979 LP Cool For Cats. The album featured four UK singles, making it the most successful of the band’s career. The sophomore release also saw the band venturing into synthesizer territory. While Jools Holland’s keyboards were present on the debut, they were almost always background filler. The New Wave push made for a change in sound, resulting in the post-disco, post-punk, New Wave sound that is Cool For Cats.

Our last set gets a bit psychedelic, starting with The Grateful Dead. The first week in August is Jerry Garcia week, did you know that? Have you sparked a joint and injected that heroin to celebrate yet? No? Maybe a good thing. We love the Grateful Dead around here.  It sure is a damn a shame that Jerry had to go so early. Here’s the Dead with “China Cat Sunflower”. Oh, and feel free to spark that joint…

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DJ: There’s Al Stewart bringing that smooth folky disco jazz to the closeout of the show. Apparently the saxophone was added later on and would be the key to helping the song branch across genres and hit the mainstream at just the right time. “Year Of The Cat” clocks in at almost 7 minutes too!

In 1981, Cherry Records took some Marc Bolan demos from the late 60’s and 70’s and added backing instruments to them. The result was the posthumous album You Scare Me To Death. Ty Segall would go on to cover “Cat Black” for his Ty Rex T. Rex covers release.

Primus offered us up “Too Many Puppies” in last week’s Dogs episode, so we thought it’d be the right thing to do to play another pet song from them. “Tommy The Cat” features a spoken word performance meant to be Tommy talking to singer. In fact, it was Tommy speaking. Tom Waits voiced the cat on the album version of Sailing The Seas Of Cheese. Tom Waits and Primus in the same room. I can’t even imagine that.

Mink Mussel Creek originally formed in 2005 with future Tame Impala founder Kevin Parker. The band recorded an album’s worth of material but the album was neve released. In 2011, though, Kevin reformed the group, produced, and drummed for them for a new album called Mink Mussel Manticore, released in 2014. We heard “Cat Love Power” from that LP.

And that, my feline friends, is the cat’s pajama’s. The kitten caboodle. The show that was Feel Me Flow! Thank you so much for stopping by and listening to cat songs with us. Our next episode is our 50th episode and we have a little something special planned. Stay tuned. We’ll see you next time on Feel Me Flow!

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