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The Mother Truckers - Let’s All Go To Bed
Funzalo Records

Hailing from Austin, Texas, the Mother Truckers sing a sort of amped-up, sky-high octane Americana which blends country, blues and rock into one unholy hellspawn of a creation that should send parents running full-bore for the best place to hide and draw young’uns straight to them, hormones a-ragin’. That the band hasn’t been able to break through to the mainstream yet should make radio execs and record labels hang their head in shame. In a time when plastic, fake, Pro-Tooled-to-death artists succeed simply by surviving Paula Abdul’s drunken hallucinations, you’re going to tell me a band writing its’ own great songs and playing the hell out of their own instruments and making incredible music doesn’t have the right stuff to make it?

Bullshit, is what it is, but like true rock and rollers (albeit with a crazy Redneck-country edge) they soldier on anyway and gather fans one album and one show at a time. An Americana email list I belong to simply can’t get enough of them and email about their gigs all the time - as well people should. People can say country-rock has been done by Skynyrd and Hatchett, and 38 Special and all those other bands, why should we care about it now? I would say, number one, because the band just does it so damn well. Then, number two, is we need this kind of music to succeed. Heartland rock, whatever you want to call it, written by people who are living the life the public lives. It’s why bands like The Jayhawks, Uncle Tupelo and their offspring Wilco and Son Volt became popular: bands singing honest songs about real life with no ostentatious trappings or extra adornments. The true test of a good song is if you can take all the extra crap away and play it on an acoustic guitar and see if it still connects with an audience. This band is able to do just that with their music.

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 Rock and Roll Report Podcast #14 [45:57m]: Play Now | Play in Popup | Download

This week’s podcast takes in a fine sampling from all kinds of rock and roll styles but I will let you try to determine what “genre” they fall into. As for me, I just let my ears soak it all up.

As always, comments and suggestions are accepted and encouraged. Email me at rockandrollreport@gmail.com or leave a voice message on the comment line at 206-339-3646.

If you want to subscribe to the podcast, just click either of the links below:

Subscribe to The Rock and Roll Report Podcast

Here is what I played:

1. Rock and Roll Report Podcast Intro by Featured on Fridays
2. Louder by the Babylon Bombs
3. Blinded By The Sound by Tenspoke Indies
4. Dr. King by Death Can Dance
5. Let Me In by Turncoats
6. Love, Love, Love by The Sea
7. Friends Like You by You Am I
8. Crustache by The National Rifle
9. Cry Baby by Diamond Center
10. King of Fuck by Dinky Drums
11. Soak Her In by Avi and Celia
12. Sweet ‘99 by Watts
13. Rock and Roll Report Podcast Outro by Featured on Fridays

There will be no podcast next week but I will be on the air at CKUT FM (www.ckut.ca) for my monthly dose of Rock and Roll Report Radio. Stop by and have a listen!

Later.

Mark

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Nathaniel Mayer - Why Don’t You Give It To Me?
Alive Natural Sound

When music fans talk about R&B music, a lot of times they emphasize how raw a certain artist or album sounds. While rawness is an important part of R&B, it is hardly a prerequisite. I mean, some of the best R&B (Motown and The Philadelphia International stables quickly come to mind) was as slick and urbane as any music can get. But ask a true R&B fan, and although they’ll give props to the Motown and Philly sounds, they’ll always have a special place in their hearts for the truly raw, the gutbucket stuff, the sweaty in-your-face butt-shaking, uber-sexual dance music. The James Browns, the Wilson Picketts, the Don Covays, the George Clintons, Otis Redding - all those people are held in very high esteem not only because they could be smooth when the situation called for but, most importantly, they could also be rough, carnal and gritty whenever they felt the need. And most felt the need a lot. Music is sex and soul music is the sexiest music of all.

Nathaniel Mayer was once one of the smoothest soul singers in the business. Never a household name, he was nonetheless a legend in his homebase of Detroit. At only 18 years of age he released his most enduring cut, “Village of Love”, for the tiny Detroit label Fortune Records. It features Mayer’s knowing croon soaring over searing garage-soul backing straight into the stratosphere. Even though Mayer would record a ton of singles that did well in Detroit and other segments of the US where soul music was strong (and also especially in Europe), Mayer didn’t record his first full album until a 2004 release on the Fat Possum label. By then, Mayer’s penchant for hard living had robbed him of most of his voice, but little else, as his stage show is, by all accounts, raucous and incredibly sexually-charged.

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If someone comes up with a sound that people seem to gravitate to, that is when you see many other bands and musicians trying to adopt that style as their own. One group of musicians that is succeeding in setting themselves apart from the crowd is a trio from the Washington, D.C. area.

Pianist/vocalist Ben Thornewill, guitarist/vocalist Tommy Siegel, and drummer Jesse Kristin have been performing together since 2004. However, it wasn’t until the three musicians regrouped after a nine-month hiatus from their first project that they refocused their energy to create a sound that helps set them apart from the countless other piano-based pop trios out there.

Thornewill, Siegel and Kristin have been performing under the moniker of Jukebox the Ghost since 2006. Although a Ben Folds Five reference is obvious, Jukebox the Ghost is far from being a carbon copy. One major difference between the bands is that while Ben Folds Five contains piano, drums and bass, Jukebox the Ghost features a guitarist and exists without anyone playing the bass, electric or otherwise.

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Food has the distinction of having a song played on back to back Rock and Roll Report Podcasts. Why? Quite simply the two songs I played rocked but almost sounded like they came from two different bands, something that I thought was very, very cool.

The first song played on Podcast #12 was Sensation Addict, an almost perfect blend of a hard rocking riff, more cowbell and snarling vocals. The second song played on Podcast #13 was Did I do Right This Time which sounds like early Glam-era David Bowie backed by Pet Sounds-era Beach Boys and yet that too worked. Hailing from London, these guys quite simply combine some of the best attributes of rock’s past glories with todays modern embellishments and lyrical prowess (have a listen to Whose God?) to make the whole package feel right, especially at high volume!

We all need Food to survive and I could certainly go for awhile on a diet of this band. Great stuff and highly recommended. Check out their MySpace page at http://www.myspace.com/foodrock

You can download their album from Echospin at http://echospin.com/food

Later.

Mark

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Judee Sill - Live In London: The BBC Recordings 1972-1973
Water

I love the name of the label which has put out this fantastic Judee Sill album. It’s a helluva label name when you think about it. And don’t let them fool you. A rose by any other name would not have caught on. All these bands and hipsters who get creative with their label names ought to think about this one here: “water”. Something you need, right? Something you can’t live without, huh? Something that brings life! Water! Just like the music this label releases. Maybe I being going on and on, being facetious to some extent, but when a label is able to dig up something like this release, I believe said label is due some praise. Sill has long been a cult figure, though if more people had been paying attention there is no doubt she could have been a major player. Not only did she have great songwriting abilities, she had a passion and conviction which made you become invested in every word she sang. Oftentimes, passion so intense can only be acquired after overcoming tragedy and pain and unfortunately Sill carried more tragedy and pain around in her tortured soul than a group of people could handle.

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 Rock and Roll Report Podcast #13 [51:30m]: Play Now | Play in Popup | Download

This week marks the first back to back podcasts in awhile and I hopefully will be able to stick to a more consistent podcast a week instead of 2-3 a month. This week’s podcast is all over the rock and roll map with power pop, hard rock, punk, “indie rock” (for want of a better description) all meshing together in a fine rock and roll stew.

As usual, all the bands and artists are either unsigned or on independent record labels and yet they all rock consistently and further my argument that commercial rock radio is missing out on some incredible music as they remain a slave to the advertising controlled corporate playlist.

If you want to drop a comment or suggest a band, email me at rockandrollreport@gmail.com or leave a voice comment on the comment line at 206-339-3646.

If you want to subscribe to the podcast, just click either of the links below:

Subscribe to The Rock and Roll Report Podcast

Here is what I played:

1. Rock and Roll Report Intro by Featured on Fridays
2. Here We Go Again by The Galaxies
3. Somebody Like You by the V-Project
4. Guns by Handsome Devil
5. Sick and Tired by American Heartbreak
6. Life and Debt by The Martyr Index
7. Did I Do Right This Time by Food
8. All At Once by Blood Red Sun
9. This Letter Bomb by Echo Screen
10. Here by Way To Go Einstein
11. Battle of the Band by The Brixton Riot
12. On Broken Wings by Revolver
13. Rock and Roll Report Outro by Featured on Fridays

As I mentioned on the podcast, The Martyr Index have a new CD out called Molotov Rocktail that is available as a free download here: http://themartyrindex.com/downloads/

If you liked any of the bands below you can click on their CD pic and order a copy for yourself thereby making your ears happy and supporting the bands we play on the Rock and Roll Report Podcast.

Thanks for listening! If you like what you hear please consider rating the podcast on the iTunes Podcast Store and let people know that you support independent rock and roll!

Later.

Mark

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(Press Release) Unsigned Bands Can Earn A Spot On “Songs For Film & TV 2” A Globally Distributed Compilation CD

Mystic, CT - April 30, 2008; American Laundromat Records invites unsigned artists and bands to submit for consideration an original song(s) for an upcoming compilation CD titled “Songs For Film & TV - Volume 2”. The CD will be released on American Laundromat Records and distributed worldwide at retail, online and through iTunes. It will also be sent to hundreds of music supervisors and filmmakers for placement consideration in film and television.

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Sandy Salisbury - Do Unto Others
Sonic Past Music

Despite the slow deconstruction of the music business, the shuttering of CD stores across the country, the tightening of major label budgets and radio station playlists, and the general hopelessness most musicians feel when it comes time to figure out whether or not they should bother to record, tour, or keep a career going at all, there is more great stuff going on in music than ever before. Lest you feel I am being facetious, I can assure you that I am not. Just think about it: MySpace and YouTube are becoming great resources in finding great new artists, TV commercials are picking up where radio has left off and are constantly putting great indie artists in our faces, great internet and satellite radio stations like Pandora and Sirius have sprung up (tons of podcasts too) offering everything from the most cutting edge sounds to the rarest of the rare for your earholes, there are more indie labels than ever trying to give bands a chance and the music that is being released is some of the best ever. You’ve got labels big and small putting out not only the best of the new artists but digging up the most obscure of the obscure nuggets and reissuing them on an almost constant basis. Sure, pessimists will say all these labels are reissuing everything in their vaults because there isn’t anything new on the horizon that’s any good.

We all know what bullshit that is.

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These days, having a band create and put out a concept album, an album where all the songs create a storyline, is almost unheard of. But that’s just what Raleigh, North Carolina band The Rosebuds have done with their new release, Night of the Furies.

Husband and wife duo of Ivan Howard and Kelly Crisp were trying to wait out tropical storm Ernesto in the summer of 2006 when they conjured up stories about “the furies”. The furies being Roman Goddesses who ‘were born of night and punish crimes on Earth that go unpunished.’ When everything was said and done, Howard and Crisp had created the story that became Night of the Furies, the latest release of Howard and Crisp as The Rosebuds.

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When you go to record an album, you must look at your strengths and decide what would best represent your sound and music. The Philadelphia band The Brakes decided that for their Hyena Records debut, they would take the unusual step of recording the album live in concert. The album that resulted from live recording is entitled “Tale of Two Cities”.

The Brakes is a rock band that is made up of five multi-talented musicians. The band is comprised of: singer-songwriter Zach Djanikian, who also contributes bass, acoustic guitar, and tenor saxophone; Matt Kass, who contributes guitar and bass; Derek Feinberg, who contributes guitar, bass and vocals; Adam Flicker, who contributes keyboards, trumpet and vocals; and Josh Sack, who plays drums for the group.
Although it might seem unusual to have a band record their first album live, The Brakes have the talent to do it. And with the album being live, the listener gets a good idea of what to expect when actually seeing the band live in concert.

“Tale of Two Cities,” the new album from The Brakes, is just that: an audio record of the time the band spent recording in two locations, Milkboy, a neighborhood listening room in Ardmore, PA, and The Knitting Factory, a concert club in New York City. Having spent a month in residence at the two clubs, The Brakes gave one concert a week at both locations and recorded each show. When the month-long residences were up, The Brakes went into the studio to collect “the best of the best” of the performances and ultimately came up with tracks that were assembled to create “Tale of Two Cities”.

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Squires of The Subterrain - Feel The Sun
self released

Though it seems from the name on this CD as if the Squires of the Subterrain are an actual band, the “band” is actually made up of one person, known in music circles as The Squire. Though the Squire physically hails from Rochester, New York, spiritually and mentally the Squire originates from about 1967-1972, as the music he creates is influenced quite heavily by pop bands from that era such as The Beatles, The Zombies, The Kinks, David Bowie and even The Beach Boys. At least, that’s the impression I get from listening to his music. The man behind The Squire persona is actually Christopher Earl (born Christopher Earl Zajkowski), a brillaint musician who, while playing in numerous bands in the Rochester area was creating some brilliant pop while sequestered alone in his basement (hence the derivation on “subterranean”) lair and releasing it on a series of acclaimed cassettes as the Squires of the Subterrain. As an XTC side project was called The Dukes of Stratosphere, there is now The Squires of the Subterrain.

Coincidence? I think not!

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 Rock and Roll Report Podcast #12 [48:13m]: Play Now | Play in Popup | Download

Well Spring has truly sprung here in Montreal and what better way to celebrate than blaring some cool rock and roll to heat things up! After the last 2 podcasts clocked in at over an hour, this one is a slightly shorter (but still rockin’!) 40 + minutes of amazing indie and unsigned rock and roll.

If you like what you hear and you want to let me know, or you have a band or label you think I might like, email me at rockandrollreport@gmail.com or leave a voice comment on the listener line at 1-206-339-3646. If this is you first time listening, consider subscribing to the podcast and if you are a subscriber, do me a favour and go rate the podcast on the iTunes Podcast Directory. Every little bit helps!

If you want to subscribe to the podcast, just click either of the links below:

Subscribe to The Rock and Roll Report Podcast

Here is what I played:

1. Rock and Roll Report Intro by Featured on Fridays
2. Sex Drug by Popgun
3. Sensation Addict by Food
4. Filthy Ways by The Sleepers
5. My Fate by Victims of Circumstance
6. I’m Not Saying What You Did Was Bad But Your Timing Could Have Been Better by Dirt Mall
7. Sexual Electricity by the Black Angel Band
8. Straitjacket Blues by The Joots
9. Cat & Mouse by Kickstart
10. Farther Away by The Apple Bros
11. Amy by The Jakals
12. Rock and Roll Report Outro by Featured on Fridays

As always, if you like what you hear support these bands by buying their music, attending their shows and dropping comments on their MySpace pages and show them that you care about real rock and roll!

Thanks for listening.

Later.

Mark

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North Mississippi All-Stars - Hernando
Sounds of the South Records

Taking Southern Rock to a new level, The North Mississippi All-Stars are a band who have been making great records and toiling away on the festival circuit for years now gaining more and more fans with every release and every appearance. By taking a marginalized form of rock music and making it relevant again, the All-Stars deserve all the credit in the world. Yes, Virginia, Hootie is not responsible for bringing the South back into prominence for being a great breeding ground for some of the best rock acts - the All-Stars are the reason. Of course, as hokey as some think the Southern Rock sub-genre is, you can’t fake it. You have to actually come from the South and have a great pedigree. Luckily, the All-Stars have it.

The All-Stars had it’s genesis from a punk group called DDT which was formed in the early ’90’s. Luther and Cody Dickinson (sons of the legendary keyboardist and producer Jim Dickinson), like seemingly all youthful musicians, seemingly had to experiment with playing grinding rock and roll as fast and as violent as they could possibly play it and started the blazing thrashy punk band. Though they won raves from the local punk community, they eventually realized their real love was in the country blues, R&B and soul native to the area they grew up in. The music their daddy loved so much that he took it, filtered it through his own sensibilities and helped everyone from Joe Cocker to the Rolling Stones create bodies of work envied by every working band today and, in the process, created his own legend for his sons to try to live up to. For The All-Stars, Luther (guitar, mandolin, vocals) and Cody (drums, samples), all’s okay because as large as their father’s legend looms, they are his lasting legacy and the ones most likely to make their father a household name. Which shouldn’t be too hard as where bands like The Black Crowes are mere dilettantes when it comes to the true origins of Southern Rock, the All-Stars have soaked up the past and added their own spin to create music with a depth those old Crowes couldn’t begin to figure out. With the All-Stars, not only do you get a huge helping of rock, but you also get blues, rockabilly, R&B and gospel elements are combined into a wonderfully thick, murky stew where all of these ingredients blend and become parts of each other as they combine to create one great tasty sound!

A sound they only happily share on the band’s new CD.

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Copyright ©1972 and 2008 by John Van Hamersveld - All rights reserved.Subject: Exile on Main Street, a 1972 release (on Atlantic Records) by The Rolling Stones, with cover artwork & design by John Van Hamersveld

When the Rolling Stones released Exile on Main Street in 1972 - a double album of songs representing the many different genres of music that shaped Stones music at the time - fans and critics found themselves having to spend a lot of time trying to “get it”. It required a number of listens to gain an appreciation of what, on the surface, often seemed to be a collection of studio out-takes and Richards/Taylor/Watts jams than a freshly-recorded musical offering.

Many critics of the era failed to appreciate the Stones’ explorations of R&B, Soul, Country and roots Rock that were spread over the 4 album sides. In fact, the record was comprised of a series of recordings done during the previous four years and, as such, they featured a variety of mixes (some better than others) and showed the band building on top of these influences in their own inimitable style to the point that, now over 35 years later, the package is considered by many to be the band’s most-authentic offering. It is always listed near the top of most of the “Best Of” and “Greatest” lists (#7 on the Rolling Stone Magazine 2003 list of the “500 Greatest Albums of All Time”, #22 on VH-1’s survey, and even impressed the younger generation enough to be ranked #11 on Pitchfork’s 2003 list of Best Albums of the 1970s).

In a similar fashion, when the buying public took their first look at the design and imagery of the sprawling record cover, most people admitted that they didn’t “get it”. Having just soaked in Warhol’s ultimately-iconic banana cover for Sticky Fingers, fans should have been ready for anything, but John Van Hamersveld’s designs seemed to confound them, asking them to digest a rough, anti-establishment, punk-before-there-was-punk collage of images that may have, initially, combined with the unfamiliar musical stylings to impact sales (don’t worry, as the record was supported by the now-famous 1972 American concert tour and songs such as “Happy” and “Tumbling Dice” got some significant radio play, the record went on to top the charts in the U.S. and the U.K.).

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I am a huge fan of Canadian band Sloan. Have been since their first EP Pepermint and I am stoked to hear that they have a new CD coming out this June called Parallel Play and Yep Roc is streaming it on their website right now.

Head over to http://216.69.135.140/MP3Players/Sloan/ParallelPlay/wimpy.html for a listen. I am going there now!

Later.

Mark

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Just like how I enjoy discovering all kinds of amazing bands that seem to be releatively unknown to most, it is fun to comb through rock and roll history and re-discover those acts who never seemed to get their due. One such act was the Small Faces and I have only really just started to delve into their amazing catalog of rock and roll fun. Aversion has discovered a great vintage clip of the Small Faces performing What’cha Gonna Do About It in black and white which I think is rock and roll and its most basic, and most fun. You decide.

Later.

Mark

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The San Diego County Fair’s Battle of the Bands is looking for the best rock n’ roll band, judged on quality of vocal and instrumental performances, stage presence, originality, and fan reaction. The winner receives priority booking for a show on the Coors Light Rock On Stage at the fair, live broadcasting on 94.9 FM, a performance at the Casbah, a possible appearance on Fox 6’s San Diego Living, a 12-hour recording session from Dinky Music Recording Studios, and $1000. Applications must be postmarked by May 23rd. Download the details, rules and free application at: www.sdfair.com/fair/pdf/08se_battlebands_ap.pdf For personal assistance: (858) 755-1161

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Harry Manx & Kevin Breit - In Good We Trust
Stony Plain Records

A truer album title has not been created in many a moon! Duo Harry Manx and Kevin Breit up the ante on this, their second album as a duo following the incredible 2003 release Jubilee, a fantastic record which made music fans do happy headspins once they heard the incredible stringed-instrument playing on the album. While Manx and Breit excel at creating their own compositions, the killer cut on the album was an absolutely astounding cover of The Doobie Brothers’ “Takin’ It To The Streets” which smokes the original. Thank God the two decided their collaboration was worth a second edition as both are very busy with careers of their own. Manx is a successful solo artist with a bunch of excellent albums to his credit, Breit is a very much in-demand jazz session guitarist. On this new disc, as they did on their first disc together, they ply their blues-based (though what they play is much more intellectual than the usual cliche 12-bar blues burner) runs and jazz-flavored licks to perfection on various instruments, adding texture and depth to a great selection of songs infusing them with an incredible amount of soul inherent from their years of musical study.

Born on the Isle of Man, Manx took the formidable guitar-playing skills he gathered at an incredibly young age (by intensely studying his blues guitar heroes nearly ever waking non-school moment) and decided to travel Europe and the rest of the world extensively, learning new applications for his already-incredible technique and phrasing wherever he went. While traveling in Japan in the early ’90s Manx heard a recording of an Indian musical instrument called the Mohan Veena for the first time and was knocked out by the sound and tonal possibilities of the instrument. He so fell in love with the sound of the Mohan Veena he decided to travel to India to study the instrument under one of the Mohan Veena’s most well-renowned teachers, Vishwa Mohan Bhatt. He spent five years studying under Bhatt and also participated in several tours of India with his mentor.

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Jesse Siebenberg was almost destined to be part of the music scene: His father, Bob Siebenberg, is the drummer from the band Supertramp, and Scott Gorham from Thin Lizzy is Jesse’s Uncle. With that type of situation, it was only a matter of time before the music bug bit him.
With experience as a 13 year old session drummer under his belt and the time he spent composing his own music, Jesse took the next logical step and enrolled at Berklee College of Music in Boston where he studied film scoring, music production/engineering and composition. Later, he went on to California to continue his studies at Westmore College.

Taking the education he received in college, Jesse started producing for other people. During this time, Jesse met singer/songwriter/producer Todd Hannigan at Brotheryn Studios. There, Jesse teamed up with Todd and the two currently run Brotheryn Studios together with Jason Mariani. Since the time that Jesse joined Brotheryn Studios, the company has won many awards and praises.

Jesse Siebenberg has finally put out an album of his own music in 2007. The album, “Undiscovery”, features Jesse doing what he does best: creating the music on his own and playing almost every instrument himself. Along with guitar, bass, drums and other instruments that Jesse performs on, other roles he plays on the album include producer, engineer and string arranger.

A good way to describe Jesse’s sound is to say he has much in common with Tal Bachman: The two musicians come from musical families, they have similar styles of writing, they would be played on the same alternative rock radio format, and they both play many instruments on their respective albums.

The difference is in the strengths of the songs: While Tal Bachman only had “She’s So High,” as a hit, the rest of the album is not very strong. In comparison, “Undiscovery” could get major airtime on radio. The two strongest tracks, in my opinion, are: Me Inside You and Stranger in a Stranger’s Arms. This first release by one of the most talented musicians in the country is one of the best independent rock releases of 2007.
Having spent many years playing for other people, Jesse Siebenberg’s “Undiscovery” will help him make a name for himself as a writer to add to his reputation as a strong musician. Keep your eyes and ears open for this performer.

Check out Jesse Siebenberg and his music by going to his MySpace account @ www.myspace.com/jessesiebenberg.

Buy it on

Matheson Kamin

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Gene Clark w/ Carla Olsen - In Concert
Collector’s Choice

Roots rock fans should bow down and give thanks to Collector’s Choice for this recent release. Not only will fans of the genre be absolutely thrilled with some previous unreleased live work from former Byrd Gene Clark but having ex-Textone Carla Olsen along for the ride is a double treat. Not only is Olsen a great singer/songwriter in her own right, but her work with Clark in the ’80’s was Clark’s most fruitful partnership since he left the Byrds. Clark seemed to shine whenever Olsen was nearby and both artists always brought their A-games whenever they decided to work together. Thanks to these newly discovered live recordings, we can once again marvel at Clark’s gifts and the fabulous interplay he had with Olsen, and though Clark always faired better as a team player than he did on his own as his history tends to bear out, he was a marvelous artist and one of rock’s best songwriters.

If nothing else, his brief sojourns with The Byrds will bear this out.

While he was only with the band for two brief stretches, Gene Clark will always be best known for being a part of the earliest incarnation of the Byrds (1964-1966) for which he wrote and sang lead on some of the band’s best known songs (”Eight Miles High”, “Feel A Whole Better,” and “Here Without You”). But before his stint with the Byrds, he was a part of folk-pop group The New Christy Minstrels, who scored a few hits on the pop charts in the early ’60’s. Thankfully for fans of country-rock, he eventually became tired of the Minstrels constant touring and quit the band. He met Jim McGuinn (who later changed his name to Roger) and together they formed the Byrds, becoming forerunners of the influential country-rock sound which would eventually influence artists like Linda Ronstadt and The Eagles, among many others. As previously mentioned, Clark’s time in the Byrds was brief with contributing factors such as a fear of flying and growing resentment from the others for his dominant songwriting skills leading to his exit. Clark was immediately signed by Columbia as a solo act but his debut solo album did very little business, due to his teaming with the Gosdin Brothers for an interesting record. Seems the world wasn’t ready for a total rock/country hybrid at that point in time, though the album was brilliant in execution.

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Well it was another fine night of rockin’ tunes on Rock and Roll Report Radio as we hit all points with some very cool music that has just been released, is about to be released, has yet to be released and I threw in a Worldwide Radio Premiere to top it all off! All this while just finishing watching my beloved Montreal Canadiens hockey team defeat the Boston Bruins in the Stanley Cup playoffs.

Don’t forget that if you like what you hear you can download a podcast of the show for one week from the date of broadcast and then after that you can listen to a streaming edition of the show for a few months at www.ckut.ca.

This is what I played:

1. Sensation Addict by Food
2. Cat & Mouse by Kickstart
3. Sexual Electricity by the Black Angel Band
4. She’s Not the Girl For Me by The Condors
5. Filthy Ways by The Sleepers
6. Farther Away by the Apple Bros
7. Good Voodoo by The Teenage Prayers
8. Let It Loose by the Babylon Bombs
9. Outta Town by The Fores
10. Amy by The Jakals
11. Backing Down by Punchface
12. Anything by Best of Seven
13. Hard to Say Goodbye by Lick & A Promise

drastic plastic 128kbps Podcast

Later.
Mark

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Rock and Roll Report Radio will be heard once again on the airwaves of CKUT 90.3 FM in Montreal and around the world on www.ckut.ca this Monday the 21st of April.

Tune in from 10:00 – 11:00 PM EST for some incredible rock and roll by an amazing array of indie and unsigned bands that are so good they will make you wonder why they are not on your local commercial rock radio station.

Tune in and rock out!

Mark
www.rockandrollreport.com

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(Press Release) Ever wonder who the hottest girls in metal are? Well Revolver magazine has the answer in their June issue. The periodical picked TV tattooist Kat Von D, who just hooked up with Motley Crue¹s Nikki Sixx, Bleeding Through’s Maria Peterson, Sonic Syndicate’s Karin Axelsson, Winds of Plague’s Kristen Randall and Light This City’s Laura Nichol. You can see pictures of all the ladies in the magazine, which goes on sale on Tuesday.

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