“Francis Bacon”, Evangelism

This way: Francis Bacon

Million-member Philly postpunk band out of @CambriaPHL in Kensington, Philly. Debut album TELL ME LIFE'S FUNNY out now. 

 

[Spotify] Francis Bacon 

“Knowledge”, Operation Ivy

This way: Knowledge

Here is an old school band getting a lot of recent love. Operation Ivy was an American punk rock band from Berkeley, California, formed in May 1987. They were critical to the emergence of Lookout Records and the so-called "East Bay Sound."

The band's name was derived from the Operation Ivy series of nuclear tests in 1952. Although the band released just one full-length album (Energy) before breaking up in May 1989, Operation Ivy is well remembered as the direct antecedent of popular band Rancid and for wielding a lasting stylistic influence over numerous other bands in what became the third wave ska movement.

Operation Ivy was formed in May 1987 and was named after the code name of a 1952 American nuclear weapons testing program.

The band consisted of Jesse Michaels (lead vocals), Tim "Lint" Armstrong (guitar, vocals), Matt "McCall" Freeman (bass, vocals), and Dave Mello (drums). Prior to the formation of Operation Ivy, Armstrong and Freeman had played together in the Berkeley ska punk band Basic Radio.

Operation Ivy's first live performance was on May 27, 1987, in Dave Mello's garage. The next day began a tradition of performances at the Berkeley punk collective center 924 Gilman Street. Operation Ivy began playing a number of performances which led to its almost immediate cult-following. 

After witnessing a live show in Southern California, Joy Aoki of Flipside Magazine described the energetic new band as a "swell bunch of guys" who "mix hard-edged ska with the intensity of young thrash.

 

[Spotify] Knowledge 

“Savior”, New Not Shameful

This way: Savior

New Not Shameful of Philadelphia, Pennsylvania. Sometimes there is screaming, so be careful out there. 

 

[Spotify] Savior 

“Passage”, Bloody Death

This way: Passage

Bloody Death are lo-fi rockers from London. They have some great tunes on this LP. 

 

[Spotify] Passage 

“How Much are They?”, Jah Wobble, Jaki Liebezeit, Holger Czukay

This way: How Much are They?

This track from 1982. 

After the demise of Can, Holger Czukay dusted himself down after two years. Holger Czukay had collaborated with Public Image Limited’s bassist Jah Wobble and former Can drummer Jaki Liebezeit on his third album On The Way To The Peak Of Normal. They had enjoyed working together and decided to record an album which reflected their respective musical backgrounds and influences.

Holger Czukay and Jah Wobble wrote How Much Are They?, Where’s the Money, Trench Warfare and Twilight World. They also joined forces with Jaki Liebezeit to write Full Circle RPS (No 7) and Full Circle RPS (No 8). These six tracks were recorded at Can’s Inner Space Studio, Cologne.

Jaki Liebezeit was a German drummer, best known as a founding member of experimental rock band Can.

 

Holger Czukay – guitar, organ, piano, French horn, percussion, engineering, mixing, drum machine on "How Much Are They?", vocals on "Full Circle R.P.S. (No. 7)"

Jaki Liebezeit – drums, percussion, trumpet and backing vocals on "Full Circle R.P.S. (No. 7)"

Jah Wobble – bass guitar, vocals, synthesizer on "How Much Are They?"

 

[Spotify] How Much are They? 

“Pretty Dark”, Bj Rodriguez

This way: Pretty Dark

Bj Rodriguez is: From Victorville, California. He records in his home studio and writes and performs all of his music and instruments.

 

[Spotify] Pretty Dark 

I reached out to Bj Rodriguez to find out a bit more about his background and his music making process. Here is that conversation. 

Brendan deVallance: It seems like what you're doing is very DIY. I mean, you're recording the music yourself, you're making everything and putting it out there, right? And I understand that the level of work that is. I listened to that, that stuff you have up on Spotify, I was like, oh, this is in my wheelhouse. This is the kind of stuff I like. I think you've got a good take. There is  sort of sometimes primitive sounding, but I'm sure it's not primitive. I think it's really good, I really, I really like it. You have the one song that stood out too, was I was listening to “Ultra Violet”, where you mentioned Clementine. The fruit or a person?

Bj Rogriguez: Actually, it's supposed to be a person, but like a moniker for anyone, basically. It is supposed to symbolize, a person's name, a person, a woman or something, you know, it could be anyone, but yeah, it doesn't have to do with that. Like it's true. It's also a little reference to all the artists that I like. And it's a small nod to System of a Down. At a certain point in one of their songs, they mentioned Clementine, but and that's all it is just a little reference. It's not deeper than that, but it's also that.

Bdev: So, all right, let's start with official interview type questions. You live in California. And so tell me, how long have you been making music like this?

Bj: Well, I started playing, just playing music, learning guitar and stuff when I was 13. But I would say I started actually making music and recording stuff. I started, playing shows at the time I was like 15.

So that'd have to be about almost 20 years. I've been actually actively trying to make music.

Bdev: And have you, did you ever play with other people in a band?

Bj: Never, no, I guess when I was really young, it was like garage bands, but it wasn't anything serious, me and friends. I’ve been in a couple little bands like that, but I never was in a more professional setting. I've never worked with a band. I've only had people perform for me, like instrumentalists when I play live. A few times I've had people help me out.

Bdev: I see. And you, you don't really have a label, right? You're just doing this yourself.

Bj: Yeah, yeah. I'm just doing it myself completely.

Bdev: Do you try to send stuff to labels or see if you can get people interested that way?

Bj: No, not necessarily. I don't really know if I even want to go that route. I kind of like the pirate ship route that I'm on. I've just from seeing other people who, you know, are in the industry and who are more like in the business side of it. But there's things that there's freedoms that I have that as long as I can, if I work hard and if I can make it, this way, I'll have more freedoms, you know, rather than making it the other way, by label or anything like that. I don't know if I even want to go down that route.

Bdev: Well, that's really interesting, I think. Well, it's an interesting time for what you're doing, because here you can have incredible equipment at your dispos at your disposal, right, with just a simple computer and you can have, you know, you're obviously figured out how to get your music on Spotify and put it up in other places. So I think it's, that's a really interesting take because it seems the way the monetization of music is working these days is not necessarily great for the artists, right?

Bj: Yeah, especially if you're on a label right now, of course, because I'm completely independent, I get 100% of the revenue. And so if people on labels, when it comes to streaming, they don't really get any money. They make little money from streaming, whereas if I can keep all the rights for myself, all the licensing I own everything, then it's actually not a unsustainable living. You know, as long as I can make the fan base or whatever, you know? I'm just, of course, also, just starting. So I'm kind of naive to certain sides of the industry and stuff.

Bdev: So when you are playing, what's your, what's your main instrument? Did you start on guitar?

Bj: My main instrument, I would say is guitar. But my second, because I I went to college for music I don't know if it's like this in all of when you go to college for music, but at least in my program, you had to pick a main instrument to study the almost four years. And I chose piano. So I'm also pretty adept at piano because I played classically, I played Beethoven and stuff like that. So it's not necessarily my main instrument. I played guitar mostly and since I started, but I really like piano.

Bdev: Well, you have a lot of keyboard stuff going on in your songs, too, at least on the most recent stuff. I was going through what you had posted on Instagram, and there's that real early thing where you have a guitar and a little tape record and some other, and you were making some really great stuff there. It was from a few years ago, I thought that was really cool. Because I I love that sort of primitive electronic. Usually the electronic stuff tends to go more Kraftwerk, right, which is very kind of sterile. But when stuff gets kind of gritty and I think there's a lot more people, maybe your age, that are exploring that to a very a good level, which I appreciate.

Bj: Yeah, yeah, you hit it on the nose. I mean since I started, um, what's the word, I'm trying to think of the word for when I was serious about making music and not just a kid. Like in my room making music, but when I was studying seriously, ever since I first started I’ve been serious about it. I've always, when you said primitive, you were right on the nose that I always look at a different kind of way, but it's the same thing. I like electronics, I like electronic music and stuff like that, electronic sounds, but I don't necessarily like how cold and just lifeless and the way I called it the whole primitive thing, I always called it that, I tried to make it sound organic, which means, the same way a guitar is real vibrations and, you know, a piano is hammers hitting a string. I try and make any synthesizer or anything electronics I use, I try and maybe mix it or do certain things, maybe just adjust the sound of it, do certain things, whatever it is, to make it kind of sound like that's the one word I can think of is organic. Yeah, just a real sound you can have a sample of a glass bottle crashing on the floor, but it's completely different than if you record a glass bottle crashing on the floor. There's those real vibrations you get out of it. So, yeah, I've always, that's actually a main focus when it comes to the electronics in my music.

Bdev: That's great. And what do you what do you use to record the music? What programs are you using for recording?

Bj: Before I would use, when I first started, an old 8-track mixer and stuff. I'm actually overhauling my studio right now, so , hopefully the next album will be a lot better. I use an Alan Heath, QU 24 for my mixer. And then, yeah, I record onto the Garageband. Oh, actually, now, this album, that's starting from here on out, I'm gonna be recording on Logic.

Bdev: Well, I think it’s interesting and depending on the audience it has relevance. Do you know TapeOp magazine? It was it was started probably 20 years ago or more, by a guy who was a recording engineer, had his own studio in Portland, Oregon, and he just started making a zine about recording from the trenches. The rarefied world of audio recording is kind of very snobby and very hard to find out about. It’s for people like us who are more DIY, real good, interesting information. And it's just filled with great interviews with people and a lot of nerdy stuff about reviewing apparatus and microphones. But it's from that side of the music, which is kind of interesting to a lot of people. You know some of the greatest rock and roll records of all time were recorded with four track equipment like Sergeant Pepper by the Beatles, right? So if you've got four tracks, you've got what they had, you know And so, you know, what can you do with that? Is sort of like an interesting question. And now when we have, you know, almost limitless amounts of tracks and the technology is so amazing. I like the idea that I read one time that Steve Albini was talking about, because he's a real famous producer who loved analog equipment. He liked tape and there was a point when that fell out of fashion and everyone was doing everything digitally, and he started buying up that equipment because he was really, he really thought that was the better sound. But he also said that, you know, the thing is it used to be when you had a band and you wanted to make a demo, it would cost you $5,000 or more, right, to go into a studio and record demos and then try to send them to a label. But he said, now it's democracy. It's like anyone with a laptop can record a record in their bedroom, which is, I'm sure what you started doing in our our still in a sense doing, although now you're making more of a pro studio because, you know, you want more, right? You want it to be better. And then when you're doing it yourself you can take your time, as much time as you need and you're not running up bills and you're not.

Bj: Oh, yeah, but I mean, I've heard horror stories just because of the work that comes along with making songs, it takes time, and the way that they charge is, they book it by time. And so, yeah, I've heard of running up high studio bills because of that.

Bdev: So I think you're, I mean, I love the way you're doing what you're doing. And I think your end result is just great. I mean, I think I was listening more closely to the music yesterday and today. And I was just kind of marveling at a lot of the different, I’m going to call it textures, within your music, that's the word. The way the drum, like some of the drums, that's electronic drums. Oh, but that's not electronic drums. Or, it seems like you're choosing very carefully what you're putting in what part of the song. And, yeah, it can almost seem endless.

Bj: There's one of my songs, I have, it's real drums, but one of the snares on the four beat is electronic, and then the other ones are just the actual snare one when I was playing. If it sounds right to me, if that's what it needs to be, then that's what it needs to be, then. That's what I do. Even though it might seem pointless or people might not even notice something small like that.

Bdev: Well, and accidents happen and wonderful accidents happened, right?

Bj: Yeah, and a lot of times it's that some things that happen go better. So, like you said, with textures and things like that, a lot of things, the way I aim to record, sometimes it's not necessarily to make it sound the best. Sometimes it sounds better if it's a little more lower or the way it's recorded sounds a little more gritty.

Bdev: Yeah, that's really great. I imagine if you're like me, you're always working on your next thing. What, uh, do you have another record that you're putting together at this point?

Bj: Yeah, I do. I've already been working on ideas and all that notes and stuff. I was just about to start recording, start recording the beginning process of recording, but that's when I started overhauling my studio. So as soon as I get done with that, I'm gonna start recording it, but, yeah, I've just been writing it, so far.

Bdev: That's great. Yeah, I think that one of the things I've found in music and art, I mean, most mostly beyond I'm making music myself, I've done, I'm a performance artist, and that was sort of my main thing for many, many years. 

Bj: Yeah, I actually, I looked up a video. I saw like an interview with you and it was really cool. I've always loved stuff like that. I'm huge into it, I'm a huge art nerd, so there's nothing that's too weird for me. If anything, I like to live in that space. It's more interesting.

Bdev: So I've concentrated more on art than anything, but, but music's always been a part of my life. And you have to try to get yourself out there, promoting everything. It's kind of a lot to do all the all the pieces, which is why I think most people realize, well, I'm good at writing the songs. Let's get other people to distribute it and get it in people's faces.

Bj: Yeah, and it's a fair trade, you know, because the label does do a lot of work, setting up the tours and all that stuff like that. So at times it is a fair trade if you want to go that route.

Bdev: I think it's interesting your perspective on it. And here you are. You get a fair amount of listens on Spotify. It's not nothing, right? I mean, people are listening to your music and you, you're getting it out there. It takes a lot of effort, to make it, to produce it, and to get it out into the world. But your point that you have more control, which in this day and age, that might be the key, right, to how it all works is keeping the control yourself.

Bj: Especially there's more of an ability with the availability of technology and as long and with the internet being able to reach people.

Bdev: When I was young the only way, when punk rock was new and the only way to listen to the music was you had to go by the record. They weren't playing it on the radio, and if you didn't get the record, you were not going to hear the music, it's so different now. It's different now than it was like 10 years ago, right?

Bj: Yeah, even when I when I was playing first started playing shows and stuff, but back at that time, the only way people could get my music was basically if they found me, actually saw me in person via show or knew me as a friend or something to physically buy the CD from me. So, you know, I didn't I didn't even have a way for people to buy it on the internet at the time. That kind of technology wasn't super easy to just a teenager in his room.

Bdev: Well, it was difficult to send a song. An MP3 was too big to send, right? You couldn't email someone at MP3. And there wasn't a site where I could, as an indie get my music up there for people to even buy MP3s during there was no DIY type. And are you on Bandcamp as well?

Bj: No, no, not on Bandcamp. I like distributors who offer independent people now. The distributor I go through, I think it's like this with a lot of them, though. I think Bandcamp, you have to put it on that for just some reason, it's separate and you have to do it yourself. Kind of like SoundCloud, you have to upload it yourself. For some reason, distributors don't upload to it. And I honestly, I kind of, because I make a little scratch from it from streaming, and I kind of like the idea that people can listen to it for free. I almost don't even want to sell it, it if we can both win in this situation, you can listen to my music for free and I'll still get paid from it. I know people would like to support maybe, but I don't even know if I want to, you know. And that way, it kind of feels like yes of course, I'm gonna take the money, you know, if someone wants to pay me, then yes. I just, I kind of like that it's available to people. And I think I guess what I'm trying to say is that I think if I put it on Bandcamp, then people might feel the obligated to buy it. And I don’t want to put that on people.

Bdev: Well, sometimes I know with a lot of friends of mine who are super do the right thing kind of people, that they feel if they're enjoying someone's music, they do want to give them some money, you know what I mean? 

Bj: I know that there are people that don't see it as a negative. I'll gladly accept your money. 

Bdev: But I understand it's sort of like if you're putting it out there in that way, you're kind of asking, right?

Bj: That's how I feel. Like you were saying, I'm one of the type people I really like, I'm not even really a huge fan of actual Batman. I don't like watch much Batman or read the comic books, but I'm a huge fan of Batman himself and all the symbolism of it, because for me. I always tell people that when people ask oh, why? I think certain people are just instilled in them that what's right is right and what's wrong is wrong. It's just upsets you when something is unjust or unfair just because even though it has nothing to do with you, just because it's wrong, you know? So unfortunately, I'm one of those kind of people. It makes making money a little more difficult. But I don't want to be that way anyways. 

Bdev: Well in some ways, you're potentially putting yourself in the situation where it's not like you're going to make that much money.

Bj: I always say I like to be able to sleep with myself. The things that people get out of going down those types of routes are not worth the how I feel about myself, you, being able to sleep with myself and know what I think about myself, my dignity and all that.

Bdev: Yeah, I hear you. I think that's very interesting. So you're obviously putting a lot of thought into what you're doing, I'm just definitely saying I'm a fan. I like the music.

Bj: I appreciate that so much.

Bdev: Do you have other people around you that like in your area there of California (High Desert Area) that are kindred spirits making music in a similar vein? Or are you a little bit of an island out there?

Bj: Honestly, you know, besides my brother, because my brother also makes music. But besides him and even him, he kind of is in a different place musically. I think the music scene here is more conventional. Whenever I do see, when it's open mic type stuff and, people, you know, novice type stuff. And it's usually just a little more conventional mood, just like rock and roll or something like that. I don't know everyone here, I don't know  the whole scene, and I'm speaking also about my specific area, because of course in LA it ranges from everything. It's all out there. But in my specific area, it's more conventional. We're a little more behind, I guess you'd say, or less progressive, when in terms of more experimental things.

BdeV: Well I'm in Phoenix, Arizona, and I grew up here. So when I was young, we would often go to LA to see shows. You know it was an eight hour drive, but we would do it if it was something something big we wanted to see, or something we'd just go just to find out what shows we could find. But I know when a big city like LA or New York or is going to have almost every genre of music, it's going to be represented. Sometimes it's interesting how environments create scenes like you've got the Seattle grunge scene or, you know, the punk rock in LA or in New York and how sometimes it's sort of part of the environment that that has something to do with creating the scene itself where you have sort of like-minded bands, which like-minded bands are going to be booked into the like-minded club, and then the like-minded people will show up to those shows. So sometimes those things take off. But I know in today's world where you kind of have the internet and you potentially have , you know, you potentially have fans in Japan, you know, or, you know, anywhere on earth could, you know, find your music, you know, interesting and want to listen to it. So the internet has made the world very small, but also very different.

Bj: Yeah, I guess to answer back to that, the whole the scene type thing is that by me, I get, because you get aware of the high desert, right? Are you aware of where Victorille is?

BdeV: Yes.

Bj: The only kind of indicator that's thing that's indicative of the scenes, Queens of the Stone Age are from here. So when it comes to people from the desert, there is this kind of outsider, which, I will agree also, goes for me as well, is that this's kind of outsider, more estranged from society type. The people who live on the edge, the fringes of society, that's the word I'm looking for. The people who are more on the fringes of society, I guess, and then that kind of mind state also carries over to the art and stuff that comes out of here, I think. Because like I said, where I am specifically, the music scene, there's not even really a music scene. I don't know other than Queens of Stone Age. I don't know anyone who really has even come out of here yet. I don't think we really have a flagship sound or something like that. I could just not know much yet, about the whole scene here and everything.

BdeV: Well, sometimes you need a club, right? If there's a little bar or a club that'll be like, oh, we'll put on live bands and live music. In Phoenix, which it's got a big population, but in some ways, it's a bit of a small town. But for some reason, there's always been a very interesting underground music scene. And that's what I was part of in the early 80s .

Bj: You know, now that you say that, see, I guess I'm just thinking right now, because I'm not really, there isn't much going on in terms of that right now. I will say I that when I was younger, there was definitely a scene. I think maybe, I said there is something, a scene right now that I just am not aware of when I was young, because the clubs closed down, that scene kind of died. But there was a post-hardcore type scene going on, kind of like screamo, emo type scene going on. And there was, it was like that where there was a few clubs that I would rotate that I played at that were the regular spaces. And that was also where we, everyone, all my friends and we would all go see shows and stuff. And like I said, there could still be something right now, and maybe I'm just too much of a hermit or something.

BdeV: Well it looks like it's kind of a small town that you're in and sometimes, when things come and go, it really can affect things a lot. Here in Phoenix I'm surprised at the amount of clubs and just the amount of bands, like small local bands that are just playing their own music. It’s fascinating.

Bj: You know, to me, I think that the main thing for success, the thing I've always believed in it, and it's just for whatever you do if you're a skateboarder or whatever it is if you focus on being a good skateboarder, then that's when things will come, at least, I hope, you know, that's the way it should be, at least. But I think that the main focus should just be, that's what it is for me, is my main focus isn't any of that. If it comes, I'm going to do it, of course. I want to tour. I plan on doing all those things, you know, but I feel if I focus mainly on making good music or putting out a good product, then those things will come. So, yeah, I think that you're, you shouldn't have to be worried about things like that, you know, it should just be about the music.

BdeV: Well, I say, let's hear it for the Spotify ‘Fans also like’ window. I think that's how I found you, because I was I heard somebody and then I looked at their ‘Fans also like’ and I saw your name and then I fell into it. So I think that's like one of the great features of Spotify that I love.

Bj: Like I said before, this is my main thing, I just appreciate your interest in it. So I just appreciate that mostly. Everything else is gravy.

BdeV: So this has been great, and I hope you have great success and I can't wait to hear the next thing that you do.

 

“City Kids”, The Pink Faries

This way: City Kids

Kings of Oblivion is the third album by the UK underground group Pink Fairies, released in 1973. 

Paul Rudolph had quit the group on the release of What a Bunch of Sweeties, thus briefly deactivating the band. Duncan Sanderson and Russell Hunter formed a new band with Steve Peregrin Took and guitarist Mick Wayne, before splitting from Took and re-activating the Pink Fairies with Wayne as singer/guitarist. This new three-piece recorded one single, "Well, Well, Well"/"Hold On", but Sanderson and Hunter were unhappy with the musical direction Wayne was taking the band. Convincing Larry Wallis (formerly of Took's 1970 band Shagrat) to join the group as a second guitarist, they then sacked Wayne passing songwriting and singing duties onto the inexperienced Wallis.

The album was named after a line from a David Bowie track titled "The Bewlay Brothers". The cover, by Edward Barker, parodied the popular flying ducks ornaments of the time but with flying pigs instead, pigs having become a motif for the band. An inner foldout sheet contained individual portraits of the group members in their chosen scenes of oblivion.

 

[Spotify] City Kids 

“Seaside Girls”, Candy Coffin

This way: Seaside Girls

Candy Coffins offer a wellspring of superbly crafted melodic punk music, proving to be relentless in their pursuit of material that embodies the emotive nature of human experience. While one foot is firmly planted in the foundation of brooding, emotional restlessness, the other steps into an arena of hope and elation.

Candy Coffins channel the sonic confectionaries of life. Plan accordingly.  

 

[Spotify] Seaside Girls 

“Slack”, Ringo Deathstarr

This way: Slack

Ringo Deathstarr is an American shoegaze band from Austin, Texas, formed by singer/songwriter Elliott Frazier in 2005.[1] The band name is a combination of the Beatles drummer Ringo Starr and the Star Wars Death Star.[citation needed]

Ringo Deathstarr was started by Frazier in 2005 in his Texas hometown, Beaumont. After he moved to the busier city of Austin, a band lineup stabilized consisting of Frazier, bassist Alex Gehring, guitarist Renan McFarland and drummer Dustin Gaudet.

The band's debut five-song EP, Ringo Deathstarr, was initially released by SVC Records in the UK in early 2007, and then self released later the same year in the US (and later reissued in 2009 by Fan Death Records).

Ringo Deathstarr's second studio album, Mauve, was released on September 19, 2012 by Club AC30, Sonic Unyon and Vinyl Junkie Recordings. It was previewed by the release of the first track, "Rip", as a CD single on September 5 by Vinyl Junkie and a 7" single on September 14 by Club AC30. 

 

[Spotify] Slack 

“Athoth a Go! Go!”, Machine Girl

This way: Athoth a Go! Go!

Machine Girl (sometimes stylized as machin3gir1) is an American electronic music project created in 2012 by Matt Stephenson (also known as DJ Chaotic Ugly) in Long Island, New York. In 2015, the project became a duo, with Stephenson recruiting percussionist Sean Kelly to play live drums. Lucy Caputi joined in 2024 as a live guitarist and official member of the band. 

In 2022, Machine Girl composed the original soundtrack for the video game Neon White, coming in two parts—"The Wicked Heart" and "The Burn That Cures"—in link with the scenario of the game. It was well received.

 

[Spotify] Athoth a Go! Go! 

“Lifeline”, Wreckless Eric

This way: Lifeline

Eric Goulden (born 18 May 1954), known as Wreckless Eric, is an English rock and new wave singer-songwriter, best known for his 1977 single "Whole Wide World" on Stiff Records. More than two decades after its release, the song was included in Mojo magazine's list of the best punk rock singles of all time. It was also acclaimed as one of the "top 40 singles of the alternative era 1975–2000". New record coming in November.

[Spotify] Lifeline 

“Stay Away from Downtown”, Redd Kross

This way: Stay Away from Downtown

Redd Kross is an American rock band from Hawthorne, California, who had their roots in 1978 in a punk rock band called the Tourists, which was started by brothers Jeff and Steve McDonald while Steve was still in middle school.[1] With the addition of friends Greg Hetson and John Stielow on drums, the band's first gig was opening for Black Flag. The band has since released eight albums and three EPs. 

Researching the Blues is the sixth album by American rock band Redd Kross, released in 2012 on Merge Records.

 

[Spotify] Stay Away from Downtown 

“I wonder what she's doing tonight?”, Boyce and Hart

This way: I wonder what she's doing tonight?

Bobby Hart, Songwriter Behind Monkees' Hits, Dies at 86" Bobby Hart (born Robert Luke Harshman), the acclaimed songwriter and musician best known as one half of the 1960s songwriting duo Boyce and Hart, passed away on September 14, 2025, at the age of 86. He died at his home in Los Angeles, California, after a period of declining health following a broken hip the previous year.

Born on February 18, 1939, in Phoenix, Arizona, Hart grew up in a creative environment that sparked his lifelong passion for music. He adopted the stage name "Bobby Hart" early in his career and moved to Los Angeles in the mid-1960s, where he met his longtime collaborator, Tommy Boyce. 

Alongside songwriting partner Tommy Boyce, Hart crafted some of the Monkees’ most enduring hits, including their theme song with the instantly recognizable line, "Here we come, walkin' down the street" as well as the chart-topping "Last Train to Clarksville" and the rock staple "(I’m Not Your) Steppin’ Stone."

Boyce and Hart weren't just behind the scenes ... they scored their own hits like "I Wonder What She's Doing Tonight," and appeared on sitcoms like "I Dream of Jeannie" and "Bewitched."

Beyond The Monkees, Boyce and Hart released successful albums under their own name, such as Test Patterns (1967) and I Wonder What She's Doing Tonight (1968). They also contributed songs to artists like Paul Revere & the Raiders and Linda Ronstadt. In the 1960s, the duo advocated for lowering the voting age to 18, releasing a single titled "L.U.V." (Let Us Vote).

 

[Spotify] I wonder what she's doing tonight? 

“Outsider”, Car Crash Set

This way: Outsider

Car Crash Set were a leading New Zealand band in the mid 80s pioneering ‘electronic’ music that was in many respects ahead of their time. The band founding members consisted of Nigel Russell ex-Spelling Mistakes/Danse Macabre, Dave Bulog & Trevor Reekie. Taking their influences from New Order, Suicide and DAF, the band employed cutting edge electronic sounds, guitar overdrive and feedback. 

The band has released several singles, as well as one album and EP remixed and produced by John Fryer from Blackwing Studios/Mute fame. The band has also tour extensively as well as playing several key supports for the likes of OMD, Shriekbank & Hunters and Collectors. They disbaned in the early 90s with members going on to become The Greg Johnson Set.

 

[Spotify] Outsider 

“I Know You”, About a Million

This way: I Know You

About a Million of Pennsylvania. Written, Recorded, and Mixed by Anthony Leitch.

 

[Spotify] I Know You 

“Oxford Talawanda”, Guided by Voices

This way: Oxford Talawanda

This great band? Still Kicking. Guided by Voices is an American indie rock band formed in 1983 in Dayton, Ohio. The band had a variety of lineup changes, with singer and songwriter Robert Pollard remaining the group's sole constant. The most well-known lineup of the band consisted of Pollard (lead vocals), his brother Jim (guitar, bass), Mitch Mitchell (lead guitars), Tobin Sprout (vocals, rhythm guitars), Kevin Fennell (drums), and bassist Greg Demos.

Guided by Voices' drew influence from early British Invasion music, garage rock, psychedelic rock, progressive rock, punk rock and post-punk. The band has had a prolific output, releasing 41 full-length albums along with many other releases, and has garnered a dedicated cult following. Originally emerging out of the lo-fi music scene during the 1980s, their songs employed Portastudio four-tracks-to-cassette production methods, and are known for their frequent brevity.

Guided by Voices initially disbanded in 2004. In 2010 the "classic" lineup reunited to perform at Matador Records' 21st anniversary party, subsequently touring and releasing six new albums. GBV broke up a second time in 2014, but Pollard again rebooted the band with a new album and a new lineup in 2016, which continues till this the present day.

[Spotify] Oxford Talawanda 

“The Forrest”, The Cure

This way: A Forrest

Seventeen Seconds is the second studio album by the English rock band the Cure, released on 18 April 1980 by Fiction Records. The album marked the first time frontman Robert Smith co-produced with Mike Hedges. After the departure of original bassist Michael Dempsey, Simon Gallup became an official member along with keyboardist Matthieu Hartley. The single "A Forest" was the band's first entry in the top 40 of the UK Singles Chart.

At the end of the Cure's 1979 UK tour supporting Siouxsie and the Banshees, Robert Smith spoke less and less with bassist Michael Dempsey. Early versions of "Play for Today" and "M" had been performed at a few concerts, but Dempsey did not like the new musical direction that Smith wanted to take. Smith commented: "I think the final straw came when I played Michael the demos for the next album and he hated them. He wanted us to be XTC part 2 and – if anything – I wanted us to be the Banshees part 2. So he left". Smith would go on to say that "Seventeen Seconds was the most personal record that we’ve ever done, strangely enough". 

 

[Spotify] A Forrest 

“Bury Me”, Ora Cogan

This way: Bury Me

Ora Cogan's approach to songwriting melds traditional, experimental, and psychedelic into something wholly unique. Cogan is known for her singular voice and cinematic compositions. She has collaborated with a multitude of artists while touring extensively throughout Europe & North America, sharing the stage with the likes of Grouper and Mazzy Star.

 

[Spotify] Bury Me 

“Garbageman”, William Shatner

This way: Garbageman

Sometimes there are no words. Shatner covers The Cramps.

[Spotify] Garbageman 

“Human”, Rag 'n' Bone Man

This way: Human

Rory Charles Graham (born 29 January 1985), known professionally as Rag'n'Bone Man, is an English singer. He is known for his deep baritone voice. His first hit single, "Human", was released in 2016, and his first album Human was released in 2017. The album became the fastest selling debut album by a male in the UK for the decade[6] and has since achieved 4× Platinum certification. At the 2017 Brit Awards, he was named British Breakthrough Act and received the Critics' Choice Award. He also received a further Brit Award for Best British Single with the title track in 2018.

After the album's success, Rag'n'Bone Man performed at headline shows and festivals worldwide and collaborating with a variety of artists from different genres including Bugzy Malone, Logic, and Calvin Harris. In May 2021, Rag'n'Bone Man released his second studio album, Life by Misadventure. It debuted at number one on the UK Albums Chart and spent seven weeks in the top 10, making it the fastest-selling album by a solo artist in 2021 and gaining Gold certification in the UK. 

 

[Spotify] Human 

“Enola Gay”, Orchestral Manoeuvres in the Dark

This way: Enola Gay

Orchestral Manoeuvres in the Dark (OMD) are an English electronic band formed in Meols, Merseyside in 1978 by Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals). Regarded as pioneers of electronic music, OMD combined an experimental, minimalist ethos with pop sensibilities, becoming key figures in the emergence of synth-pop; McCluskey and Humphreys also introduced the "synth duo" format to British popular music. In the United States, the band were an early presence in the MTV-driven Second British Invasion.

McCluskey and Humphreys led the Id, a precursor group, from 1977 to 1978 and re-recorded their track "Electricity" as OMD's debut single in 1979. Weathering an "uncool" image and a degree of hostility from music critics, the band achieved popularity throughout Europe with the 1980 anti-war song "Enola Gay", and gained further recognition via Architecture & Morality (1981) and its three hit singles. Although later reappraised, Dazzle Ships (1983) was seen as overly experimental, and eroded European support. OMD embraced a more radio-friendly sound on Junk Culture (1984); this change in direction led to greater success in the US, and spawned hits including "If You Leave" (from the 1986 film Pretty in Pink). 

In 1989, Humphreys and longtime group members Martin Cooper (keyboards, saxophone) and Malcolm Holmes (drums) departed to form the spin-off band the Listening Pool, leaving McCluskey as the sole member of OMD. The group returned with a new line-up and explored the dance-pop genre: Sugar Tax (1991) and its initial singles were hits in Europe. OMD then began to flounder amid the guitar-oriented grunge and Britpop movements, eventually disbanding in 1996. McCluskey later founded girl group Atomic Kitten, for whom he served as a principal songwriter and producer, while Humphreys formed the duo Onetwo alongside lead vocalist Claudia Brücken of Propaganda.

This from 1980s "Organisation" LP

 

[Spotify] Enola Gay 

“Normal Life”, Street Bizarre

This way: Normal Life

Street Bizarre from the UK put out this single in 1979. The original line up consisted of:  Bill Wood - Vocals, Peter Lake - Drums, Ken Grainger - Guitar and Tim Green - Bass.

This single was backed with Nervous Exhaustion, but did not feature the original band apart from Bill Wood. I believe guitar and drums were handled by Ian and Colin Woolway respectively.

On 29 July 2009, Anorexia covered Normal Life during their reunion gig. 

 

[Spotify] No!

“Water & Stone”, Beware Wolves

This way: Water & Stone

Beware Wolves is always occupying a new skin. He’s a musical shapeshifter, tripping out, up & down the folkways & conjuring songs of seeking, searing beauty. With a sweet voice flitting between earthbound hells and rapture. Augmented by harmonies that can glaze a vocal hook with honey or add to the tremulous sense of near collapse, Assuming the planets traveled parabolas of pure, urgent emotion. Of Austin, Texas. This track from Volume 9, 2025.  

 

[Spotify] Water & Stone 

“Pacific 231”, Burning Airlines

 This way: Pacific 231

Burning Airlines was an American rock band from Washington, D.C. J. Robbins and Bill Barbot of Jawbox formed the band with Peter Moffett (formerly of Government Issue) in 1997. The band released two full-length albums, a self-titled 7", and split releases with At the Drive-In and Braid. 

Robbins and Barbot had jammed with Moffett while their band Jawbox was still active, briefly considering him to fill in after drummer Zach Barocas' departure. However, this lineup was not to be, and Jawbox called it quits shortly thereafter. Taking their name from a Brian Eno song, Burning Airlines released their first 7", and their debut CD Mission: Control! was released in 1999 on DeSoto Records.

Unable to tour full-time, Bill Barbot left the band and was replaced by longtime friend and Jawbox roadie Mike Harbin. This lineup toured extensively and recorded second album, Identikit, released on DeSoto Records in 2001. Benjamin Pape was added as second guitarist/keyboards/vocalist.

Burning Airlines was in the middle of a major North American Tour when the September 11, 2001 attacks occurred. Many clubs refused to display the band's name prominently and the band considered changing their name but decided the name was still appropriate and had taken a new meaning and relevancy. The band then abruptly split up in 2002.

 

[Spotify] Pacific 231 

“On Me”, Bears

This way: On Me

Bears are a punk outfit from the UK circa 1978. The band comprised Kris Kershaw (ex-Wire), George Gill (ex-Wire), Ron West – Bass guitar, Cally Callomon – Drums and Mick North on Vocals.

 

[Spotify] On Me