Tuesday, March 13, 2018


"Invisible airwaves
Crackle with life
Bright antennae bristle
With the energy
Emotional feedback
On a timeless wavelength
Baring a gift beyond priceless
Almost free..."
-"The Spirit Of Radio"
lyrics by Neil Peart  
music by Geddy Lee and Alex Lifeson
performed by Rush

Yes, I know. Things change. Hell, everything changes and nothing lasts forever. But still...ever still, I am stunned and tremendously saddened with this latest farewell.

Chicago's premier classic rock radio station WLUP 97.9 FM, eternally known as "The Loop," has now ceased to be. As of the stroke of midnight, as Friday, March 9, 2018 became Saturday, March 10, 2018, legendary Chicago DJ, and one of the original rock radio bad boys, Steve Dahl sailed The Loop on its final journey as the station, now owned by the Educational Media Foundation, made its inexplicable transformation into a new contemporary Christian music network. And with the defiant, goin' down swingin' hard rock middle finger, which arrived in the three song set of Motley Crue's "Shout At The Devil," Iron Maiden's "Number Of The Beast" and the final song, most fittingly AC/DC's "Highway To Hell," The Loop said goodbye to Chicago after 41 years of service in the name of radio and rock and roll.

While I probably hadn't listened to the station since some time during my college years, it did not matter at all because The Loop was an essential piece in the complex puzzle that made up the city of Chicago. It was so much more than a station that directly influenced me, my love of radio and rock and roll at the absolute best time of my life, it was a station that served to represent Chicago triumphantly and with irreverence, grit, guitars and glory. The Loop is as much "Chicago" as the metallic sonic onslaught of the 'L trains, the majestic architecture that surrounds the city, the funky salt-of-the-Earth backbone of its neighborhoods and citizens, and a city landmark for all times, much like Wrigley Field and the Sears Tower (I will NEVER call it "Willis"!). The Loop IS Chicago. The Loop IS rock and roll. And while its identity is forever cemented within generations of Chicago listeners, it doesn't make it any less sad that it is now gone.
While I am unable to remember the exact day and date, I will NEVER forget how the experience made me feel. In my life during my childhood leading up to my year in 5th grade in the 1979-1980 school year, the radio was an essential piece of my upbringing as it was ALWAYS part of the fabric of my family. WBBM-AM for constant news and sports. WJPC and WVON for soul, gospel and most specifically for my Mother, Rev. Jesse Jackson's weekly Operation P.U.S.H. broadcasts each and every Saturday morning.

Again, I do not remember how or when, but the radio truly came alive for me when I discovered WLS-AM and its rotating cavalcade of DJs with the late, great Larry Lujack existing as my first radio hero and the terrific radio ready music of pop, rock, R&B and yes, even disco serving as the soundtrack with the likes of Peter Frampton, Boston, Fleetwood Mac, Queen, KISS, the Eagles, Electric Light Orchestra, Cheap Trick and others of their ilk becoming personal favorites. Yet, by the time I was 10 going on 11, I distinctly remember growing a tad fatigued with WLS and just desiring something new. I do not remember how, when or why I made that very first switch to the FM dial, but I do remember precisely what I heard.
The song was "The Spirit Of Radio" by Rush and it was a piece of music that could not have been more prophetic and more of a fanfare if it had even wanted. The sound of the song and the fidelity of FM radio made me hear music and the radio in an entirely new way, so much so, it was as if a brand new set of ears had been placed upon my head! Whatever I had been looking for was immediately found and very quickly, my AM radio days were over in favor of the exceedingly wider horizons of FM, and most specifically, The Loop!
With all due respect to the great hard rockin' WMET-FM of which I was a passionate listener, WLUP-FM became my go-to radio station for this next and crucial wave in my musical/radio education as well as my building worldview. Starring the first rate presence of radio personalities that sort of felt like the characters from television's "WKRP In Cincinnati," yet they had either just crashed through the bars well beyond closing time or had otherwise been released from jail for all manner of belligerent behavior, WLUP-FM truly felt like a band of gleefully unapologetic anarchists of the airwaves. The playfully flippant Jonathan Brandmeier. The smoky, sexy late night voice of Patti Haze. And most of all, there was no one more revolutionary and dangerous than Steve Dahl and Garry Meier (sorry Howard Stern, as far as I am concerned, you are still chasing Dahl).

Hearing this cast of radio characters, it was easy to hear how bullshit detectors were on high alert and they did not suffer fools whatsoever with that trademark Chicagoan resolve. But, what they did offer, and happily so, was an allegiance to rock and roll so steadfast that for me, the station functioned sort of like what I would have imagined a street gang to have been like. The Loop harbored a "take no prisoners" attitude and aesthetic that made you feel as if the radio airwaves were their turf that was fought over and had to be defended. The Loop presented themselves as the toughest by far with rock and roll as its armor and the now iconic back in black T-shirt as the uniform known citywide.

Steve Dahl and Lorelei the Loop Girl, Comiskey Park 1979 

Now when I first listened to The Loop, Steve Dahl and Garry Meier were the morning shock jocks and I never heard him in action due to my parents' listening habits (plus the fact that they would never tolerate that level of insanity so early in the day). But man, I certainly knew of him and his controversial, newsworthy antics, of which the still infamous "Disco Demolition Night," held July 12, 1979 at Comiskey Park (no, I will NEVER call it the U.S. Cellular Field or the even more impersonal and blue blooded Guaranteed Rate Field), where Dahl exploded stacks of disco records to the riotous delight of rock fans and therefore the second game of the White Sox vs. Detroit Tigers double-header was forced to be cancelled due to the damage made to the playing field. reverberates powerfully.

Since I was 10 years old at the time and really had no concept of the possible subversive cultural, racial and homophobic politics that may or may not have been weaved into the event, for me, that night, as I witnessed it on the news and of course, heard about it on the radio, felt like the anarchy I adored in John Landis' "National Lampoon's Animal House" (1978) was brought to vividly, vibrant life.
Garry Meier and Steve Dahl

All of that being said, I never really heard Dahl and Meier until they were jettisoned from WLUP and joined the then new WLS-FM, when I listened to them religiously during my middle school years in the afternoons before switching right back over to The Loop each and every night. Even during periods when I was under punishment from my parents for poor grades, I still found ways to to listen to The Loop, for this was my safe way to join the rebellion, such as it was, with my own act of rebellious behavior. The Loop was precisely what I needed for so many years of my younger life and I am unable to imagine what my life woud have been without it and what it gave to me.

Yes, The Loop was the home of those aforementioned radio rebel DJs and high adrenaline advertisements ("Sunday!!! Sunday!!! SUNDAY!!!!") but my musical horizons were blasted wide open, expanding the rock and roll universe for me rapturously. While my favorites from my AM radio years were still present and accounted for, I was graced with so much more than hit singles. The Loop was the station to play those deep cuts, the longer tracks, the full versions and even entire albums in full. It was the station that introduced me to Rush, Genesis, Yes, The Who, The Police and so, so many more bands that I will cherish forever and ever.

In fact, my eternal love for Led Zeppelin began with The Loop as I distinctly remember one full weekend entitled "Led Zeppelin A to Z," during which every Zeppelin track was played in alphabetical order. I listened to as much as I was able that weekend and I was enraptured and transported.

In another instance, The Loop was the station that helped to re-acquaint me with Pink Floyd's "The Wall" (released November 30, 1979), an album that I received on Christmas Day 1979, listened to in its entirety on that day and was so terrified by it that I actually felt it to being "evil," that I shelved it into the vinyl stacks in my house. Out of sight. Out of mind. But on The Loop, I soon heard one song from the album on one day and then, another and another, and soon, I decided to dig the album out from its hiding place and give it a listen again. I was still frightened but I began to very slowly realize that I was hearing a superlative work of art that was challenging absolutely everything I thought that I knew about rock and roll, lyricism, poetry, albums that served as storytelling as well as psychoanalysis. Again, The Loop was instrumental in changing the way I heard music and to this day, Pink Floyd's "The Wall" remains one of the best albums I have ever heard in my lifetime. Without The Loop, that album still may have been hidden among my parents' record collection.

Dr. Demento

The Loop was also the home to a series of syndicated radio programming that served to deepen and expand my musical horizons. How I adored "Rockline," a weekly interview series hosted by Bob Coburn who engaged one musical hero after another in conversation, along with call in questions from fans just like me (I can still hear the theme son in my brain). "The Dr. Demento Radio Show," two full hours of comedic tunes, novelty songs and bizarre sonic ditties (Barnes & Barnes' "Fish Heads," anyone?), solidified the subversive, anarchistic vibe of the station. 

But, first and foremost, it was the music. ALWAYS the rock and roll music that made me constantly wish for more, to be inspired to race to my drums and bash away, to house rock star dreams and visions, and mostly, to just float away on roaring symphonies of guitars, carrying my teenage heart to wherever it wished to take me.

As my musical horizons and listening habits expanded even further by the end of high school and especially, upon heading off for college, I stepped aside from The Loop and gave my attention and devotion to WXRT-FM, which for me will eternally e the greatest radio station I will ever hear. That being said, I never turned my back upon The Loop and even after years of being away from Chicago and not listening to that station, I have NEVER forgotten it and all that it gave to me at the very span of time when I needed it most. Even with the advent of the internet, streaming, satellite radio stations and the avarice driven corporate take over of radio stations coast-to-coast, the kind of which that has bled any sense of originality, region and location, individuality and integrity completely dry, The Loop continued onwards, waving that rock and roll flag for Chicago as proudly and as defiantly as it was able.

That is, until now...

Steve Dahl, the final Loop broadcast March 9, 2018

Upon hearing the news that The Loop was sold and purchased, and with a complete format alteration to Christian music, I felt as if I had been sucker punched. I was in utter disbelief without question as The Loop was just one of those Chicago staples that seemed would outlive me and generations after me for it felt to be so entrenched into Chicago's identity. It still doesn't feel real that when I return to my home city and spin that dial to 97.9 FM, The Loop, after 41 years, will simply not be there.

So, I feel the need to hope that for all of the people who listened and loved and were fiercely loyal to The Loop, whatever spirit of radio it instilled into all of us remains...just as proudly and as defiantly as it did when we were kids, passionately listening to and debating rock and roll just as the adults conversed and debated about sports teams. Yet still, Chicago has lost a crucial piece of its overall soundtrack and in some fashion, I have lost a piece of my childhood with The Loop's sudden absence. I have my memories. I have my music. I just wish that it could still be there for the next wave of kids who need that space for rebellion and anarchy, irreverence and audacity, all of which wrapped up in the heftiest serving of classic rock, so imaginatively presented as it was for my generation.

All I can do right now is to say, THANK YOU" to WLUP-FM as this station truly threaded an entire city together, and so wondrously graced my life. In fact, I think one particular tribute saidit all for me and it was one as delivered by WXRT-FM...
"We grew up together." Indeed.

And the both of them raised me...

WLUP-FM 97.9 THE LOOP 1977-2018

Sunday, March 11, 2018


Published by Rowman & Littlefield Publishers
Released November 17, 2017
523 pages

How did he do it??? Even after reading this extraordinary book, I am still shaking my head. Just how did he do it???

For those of you who have or still know me in the real world or for those of you who have been regular visitors to this blogsite, all of you will know emphatically that the artist forever known as Prince will eternally hold a crucial place as one-third of my musical Holy Trinity (with The Beatles and Todd Rundgren as the other two essential pieces of this specific triumvirate).

Ever since that summer's day, at the age of fifteen during the opening weekend of his debut feature film "Purple Rain" (1984) as I walked into that movie theater as a complete skeptic and emerged afterwards as a complete convert, I have passionately followed every inch of His Royal Badness' career and supreme artistry from album to album, from B-side to side project to unreleased bootlegs, from one pseudonym to the next, to every confounding musical stylistic change and finally, to his shocking passing nearly two years ago on April 21, 2016, and throughout all of the years and music, I have consistently wondered just how did he ever accomplish all that he did indeed achieve...and powerfully so.

Yes, there are all of the legends of his prolific nature, creating new songs tirelessly and endlessly filling up the mythical Vault with an amount of material that it would take a lifetime to hear it all, and to top it all off with the epic performances, the music videos, the films, etc...Without question, we know that everything that happened did indeed happen but it still seems impossible for there are only so many hours in one day and for Prince, it seemed as if he was able to manipulate time itself in order to amass his musical legacy.

Every so often over the years, I would come across a book that would help to give me a window into this magical, musical world, most notably, books and material compiled and written by Per Nilsen, all of which are now either difficult to find and/or enormously expensive due to their rarity. But now, I believe that I have read a work that has exceeded all of my expectations for what a volume of Prince "behind-the scenes" could possibly be, so much so that I think it has also transcended its core subject matter to make a grand statement about the nature of art, inspiration and creativity itself.

Prince and the Purple Rain Era Studio Session 1983 and 1984 from Author Duane Tudahl (once an associate of the aforementioned Per Nilsen) is indispensable, for fans of Prince and frankly, of music itself. This meticulous, exhaustively researched tome, complete with prologue, epilogue and an introduction written by like minded and self described "Prince scholar" Ahmir "Questlove' Thompson, Tudahl takes one specific period in Prince's musical history from January 1983 through December 1984 and details it extensively in almost diary format, all the while chronicling the end of the era of "1999" (released October 27, 1982), the beginnings and recordings of the songs that would constitute "Purple Rain" (released June 25, 1984) plus The Time's "Ice Cream Castle" (released July 2, 1984), "Apollonia 6" (released October 1, 1984), Shelia E.'s "The Glamorous Life" (released June 5, 1984) and even the bulk of what would become Prince and the Revolution's "Around The World In A Day" (released April 22, 1985) and even the one and only release from "The Family" (released August 19, 1985). 

Add to even that, there are the details of the concerts performed and rehearsed, the writing, filming and release of Director Albert Magnoli's "Purple Rain" film plus the preparations and frustrations of the "Purple Rain" tour, the disillusion of The Time and the rise of The Family, Prince's struggles with post "Purple Rain" superstardom after having existed as a cult hero, his constant need to find inspiration to create and his astonishing dedication to his craft throughout.

In addition to Tudahl's clean, elegant prose, he includes copious interview segments, both archived and newly granted, from a variety of the principal cast of characters of this specific era. Memories from The Revolution, The Time, The Family, Vanity/Apollonia 6 and more are all here plus those from exceedingly crucial players, most notably Engineer Susan Rogers, who shared an intensely close working relationship with Prince over the duration of the period when his most celebrated material was created.

What I loved so terribly much about this book was how Tudahl brilliantly weaved a narrative that succeeded on a variety of levels. First, he cuts past the notions of Prince's place as a celebrity and enigmatic public figure to focus directly upon what tends to be somewhat lost when people write or possibly even think of him, and that is his extraordinary work ethic. At the outset of this posting, I questioned just how did Prince ever accomplish all that he did and even after reading, I still question it because of his excessive determination and inner drive to play, to create, and to release his gifts to the world.

With the book's chronological, month-by-month, day-by-day structure, we are witness to how Prince would record for hours on end without sleep and therefore, requiring and daring his associates, from bandmates to engineers, to keeping up with his seemingly impossible pace, as well as some eccentric recording habits, like recording his vocals with little to no one present as he desired privacy in this area as well as having beds delivered to studios as he liked feeling "at home" as he wrote lyrics.

Beyond that, I was astounded to regard the man's crystal clear clarity as he was able to focus with laser like efficiency on whatever project he was recording for, especially as he was working on several albums at the same time. He had an uncanny ability to know precisely which song would work best for whichever project, even if it confounded those closest to him. Furthermore, Tudahl also demonstrates that what was new to us as listeners, was already old and in the distant past to him, making Prince an artistic figure that was forever restless with his own creativity. To regard that "Around The World In A Day" was essentially completed and in the can as the "Purple Rain" tour was beginning was astonishing to me, plus the fact that so much material that still remains unreleased was created during this period as well, which Tudahl also details.

From this aspect of the book, I think Tudahl has delivered a powerful service, especially in our era of severe instant gratification and entitlement. Nothing worth doing arrives without the work that one puts into it and Tudahl illustrates over and again that Prince was not a genius because he snapped his fingers and magic happened. He was a genius because he took it to the woodshed, so to speak, every single time, demanding nothing but the best of himself plus whomever happened to be working with him at the time, performing what felt to be impossible and discovering newfound abilities and talents along the way.

And to that end, Duane Tudahl's book speaks to the nature of art and creativity itself as he presents just exactly how Prince found himself inspired in the first place, and how he feverishly tried to keep tapping into that specific spirit for every new song that emerged in his brain. Certainly not an easy process but one that Prince was demonstrably in service towards. The search never ceased just as the pursuit for excellence, and if anything has been captured to such a towering degree is that very pursuit for the work was never truly finished--and in that regard, that sentiment works just as equally for Duane Tudahl as it did for Prince.

I can only imagine just what Tudahl endured creatively to make a work like this one come to life. From the interviews, of course, but just think of the archived studio logs and information that is now over 30 years old and having to sift through all of it in order to make this narrative function to its very best. Knowing that he is planning further installments, therefore making this book the very first of a series, I am already salivating at the opportunity to dive in again to read about what reportedly will cover the years 1985 and 1986, especially and creatively productive and turbulent times for Prince.

For now, we have this initial volume, a work that proves without question that it is an essential document of two years in the life of one of the most idiosyncratic artists we have been fortunate enough to experience. Duane Tudahl has created a work that not only demands and deserves its own reverence, it is equal to the artistic nature and commitment of its subject.

Sunday, March 4, 2018


Once again, I send my apologies to all of you for giving this blogsite short shrift last month due to  quite a bit of increased activity at my sister blogsite Savage Cinema as well as copious amounts of real world responsibilities which made it impossible to fully devote any considerable time to writing about music.

That being said, I am ready, dear readers and listeners. I am ready. Yes, living in Wisconsin, we are fooled over and again with the potential for the full arrival of Spring but the upcoming season is unquestionably something that one can just feel. With that, I am just itching for the new of everything, most especially the new 2018 music that will supply the soundtrack of the year.

The outstanding debut album from Chris Dave and the Drumhedz released in January has thrown down a certain gauntlet, I would say. And presently, I am listening to new releases from MGMT as well as the third album from Jonathan Wilson (I am five songs in and this too is already one of the finest albums of the year). And yet, more is just about ready to be revealed with more posthumous music from Jimi Hendrix in addition to new albums from Sloan, Jack White, Meshelle Ndegecello, A Perfect Circle (their first in fourteen years!) and I am especially excited to hear the debut release from August Greene, a new supergroup featuring Common, Robert Glasper and Karriem Riggins. 

On the local scene here in Madison, WI, I do know that my musical friends have been using the winter months for creation as I know that new works from Post Social and Kainalu are being crafted, as well as new music is slowly being written by the members of Squarewave and Dash Hounds...so, hopefully, 2018 will bring new material on the home front.

And what of the reunions?
I have been absolutely STUNNED to see the return of singer/songwriter/keyboardist/ trombonist Christopher Dowd to the fold of Fishbone, after nearly 25 years away, now bringing the band (minus original member Kendall Jones) right back to their (nearly) original member glories. Currently on tour (please, please, please return to Madison), Dowd has already let fly that the band will be recording together again for not one but potentially two new releases!!!
And then, there was the further surprise that my beloved Utopia has re-formed for a short tour this year, something I felt that Todd Rundgren would never return to  as he is so musically forward thinking, rarely ever looking back. Perhaps 2018 is one of those rare times. Now certainly, he and bassist/singer/songwriter Kasim Sulton have continued to play together consistently over these past 40 years, including the 32 years since Utopia's final album. But to see Rundgren with drummer/singer/songwriter/producer Willie Wilcox again was indeed a shock as the two reportedly had quite the bit of friction during the band's final years.

Yet, what of keyboardist/singer/songwriter Roger Powell? Due to his real world work schedule as well as some physical pains in his hands, he is unable to take part in the reunion tour. But, to have keyboardist Ralph Shuckett, one of the very first members of Utopia taking part, keeps every int he family so to speak.

Yet, of the reunions that I know of, none make me more excited than this...
In the above photo, you see that inside of a California recording studio sit three of the original members of The Smashing Pumpkins, drummer Jimmy Chamberlin, guitarist James Iha and the Pumpkin King himself, singer/songwriter/guitarist/keyboardist William Corgan, as they plot their future. 

Ever since Iha's jaw dropping and unannounced arrival on-stage during a Pumpkins concert in 2016, the rumors and hopes have been swirling for a full fledged Pumpkins reunion tour and now..it is indeed happening. But of course, not without a bit of classic Pumpkins drama. 

So, the tour and subsequent new music being recorded will feature Corgan, Iha, Chamberlin and guitarist Jeff Schroeder, who joined the band in the first resurrection in 2007 and has more than earned his Pumpkin stripes, so I am thrilled to see that he remains in the fold and will now merge his superlative six string heroics with Corgan and Iha's. So, what of original bassist D'arcy Wretsky, who will be conspicuously absent from the proceedings? Depends upon whom you ask as she and Corgan have been feuding once again with Wretsky claiming that the offered her a place to return only to rescind it while Corgan proclaimed that she never fully committed to the idea in the first place.  

As for me, this is all but a distraction from the music itself as I have been thrilled to check out  Corgan's Instagram postings on the studio/tour goings on and updates, happily witnessing his and Iha's collaboration once again--also something I thought that I woud truly NEVER see. Frankly, all of the outcry, while understandable to a degree from the fan community and the music press concerning Wretsky's absence, again and sadly continues the narrative of "Billy Corgan Is A Ego-Maniacal Svengali Tyrant," while being fully dismissive of any music he has written since 1993 yet while also holding him up to a higher standard than anyone else in rock and roll who has ever re-formed a band without all of the original members, something that is as commonplace as the sun rising every day.

For me, I am feeling that this version of the band, bridging the previous two eras of the Pumpkins, has more than enough potential to honor the past while blazing into the future and for that, I am ferociously excited.
But whatever occurs, it is coming. It is all coming and I am ready for every single note, so much so that I wish that I possessed another set of ears so that I could hear it all at once. For every piece of it...always remember to...

PLAY LOUD!!!!!!!!!!!!!!!!!!

Wednesday, February 28, 2018


February 1, 2018
"Love Is All We Have Left" performed by U2
"Love's In Need Of Love Today" performed by Stevie Wonder
"Love Of The Common Man" performed by Todd Rundgren

"Cupid" performed by Sam Cooke
"Wild Is The Wind" performed by David Bowie
"Alone Tonight" performed by Genesis
"Lover, You Should've Come Over" performed by Jeff Buckley
"You're Still A Young Man" performed by Tower Of Power

February 2, 2018
"What In The World?" performed by The Dukes Of Stratosphear
"The Priest" performed by Johnny Marr and Maxine Peake
"Misfire" performed by Queen
"Die Alone" (live) performed by Slow Pulp
"Break You" performed by Anna Wang

February 3, 2018
"Sunless Saturday" performed by Fishbone
"Words Are Few" performed by Snoop Dogg featuring B. Slade-WSPC PREMIERE
2018 Grammy Awards Opening Performance by Kendrick Lamar, U2 and Dave Chapelle
"Get Out Of Your Own Way" (live 2018 Grammy Awards) performed by U2

February 4, 2018
"Billie Jean" performed by Michael Jackson
"Wound" performed by The Smashing Pumpkins
"Rebirth Of The Flesh" (unreleased) performed by Prince

February 5, 2018
"The Day Will be Mine" performed by Sloan-WSPC PREMIERE
"TalkTalk" performed by A Perfect Circle-WSPC PREMIERE
"Boys Don't Cry" performed by The Cure
"Hey" performed by Red Hot Chili Peppers
"Meadows" performed by Joe Walsh

February 6, 2018
"Run Away" performed by Weezer
"Peace Of Mind" performed by Boston
"Cinema" performed by Yes
"Summer In November" performed by SiR-WSPC PREMIERE
"Thin Ice" performed by Lenny Kravitz

February 7, 2018
"The Bed's Too Big Without You/Weird Fishes" performed by Elise Trouw

"The Bed's Too Big Without You" (live Hamburg 1980) performed by The Police
"Weird Fishes/Arpeggi" (live from The Basement) performed by Radiohead
"Me And Michael" performed by MGMT-WSPC PREMIERE
"Any Day" performed by The Sea And Cake-WSPC PREMIERE

February 9, 2018
"Snowflake" performed by Kate Bush
"White As Snow" performed by U2
"Hidden In Snow" performed by Trent Reznor and Atticus Ross
"White Winter Hymnal" performed by Fleet Foxes
"Snow Angel" performed by Tori Amos
"Snow And Lights" performed by Explosions In The Sky
"Snow" performed by The Chemical Brothers

"Rich Friends" performed by Portugal, The Man
"Just Before The Dawn" performed by The Free Nationals
"Lucky Star" performed by Fkj & Pomo

Nas-Live From The Kennedy Center
Anderson.  Paak and The Free Naitonals live in concert

February 11, 2018
"Cash Car Star" (live on Jay Leno) performed by The Smashing Pumpkins
"1000 Deaths" performed by D'Angelo and the Vanguard
"Stakes Is High" (live) performed by Mos Def with Robert Glasper Experiment

February 12, 2018
"Houseboat" (live) performed by Slow Pulp
"Why Can't I Have You?" performed by The Cars
"Baby, I'ma Want You" performed by Bread
"Country Girl" performed by James Iha
"Make Me Say It Again Girl" performed by The Isley Brothers

February 13, 2017
"That Voice Again" performed by Peter Gabriel
"Moment Of Surrender" performed by U2
"Ceremony" performed by New Order
"Illumination" performed by Rollins Band
"I Don't Think You Know Me" performed by The Monkees

February 14, 2018
"It Is Time For A Love Revolution" (live Paris sessions) performed by Lenny Kravitz
"Ti Amo" performed by Phoenix
"You're The Best Thing" performed by The Style Council
"It Must Be Love" performed by Madness
"Early Morning Love" performed by Lou Rawls

"Baby, I Love You" performed by Ryan Adams-WSPC PREMIERE

February 15, 2018
"Pull" performed by The Amazing-WSPC PREMIERE
"Fantasia's Confidential Ghetto: 1999/Once In A Lifetime/Coconut" performed by P.M. Dawn
"The Rainbow" performed by Talk Talk
"La Mer" performed by Nine Inch Nails
"On The Mend" performed by Foo Fighters"

February 16, 2018
"Save The Children" performed by Marvin Gaye
"When A Kid Goes Bad" performed by Tom Petty and the Heartbreakers
"Hell Is For Children" performed by Pat Benatar
"Trouble Child/Twisted" performed by Joni Mitchell
"Barbarism Begins At Home" performed by The Smiths

February 18, 2018
"Come By" performed by David Poole-WSPC PREMIERE

"Redbone" performed b  Childish Gambino
"The Healer" performed by Erykah Badu
"Free Your Mind And Your Ass Will Follow" performed by Funkadelic

February 20, 2018
"Swing To The Right" performed by Utopia
"Celebrate" performed by Anderson.  Paak
"Write At Home" performed by Talib Kweli
"Trainwreck" performed by De La Soul
"Hollywood  Freaks" performed by Beck

February 21, 2018
"Mr. Tillman" performed by Father John Misty-WSPC PREMIERE
August Greene LIVE at NPR Tiny Desk Concert-WSPC PREMIERE

February 22, 2018
"Freedom Fighters" performed by Utopia
"When It Started To Begin" performed by Nick Heyward
"Rescue Me" performed by World Party
"Waiting For The Bus/Jesus Just Left Chicago" performed by ZZ Top
"Da Booty" performed by A Tribe Called Quest

February 23, 2018
"Politely" performed by TonyAllen
"Do The Strand" performed by Roxy Music
"Too Much Information" performed by The Police
"Green Earrings" performed by Steely Dan
"Umi Says" performed by Mos Def

 February 24, 2018
"We Hurt Too" performed by Funkadelic

"Black Kennedy" performed by August Greene-WSPC PREMIERE
"Django Jane" performed by Janelle Monae-WSPC PREMIERE
"H2OGate Blues" performed by Gil Scott-Heron and Brian Jackson
"After The Dance" performed by Marvin Gaye
"Heaven Must Be Like This" performed by Ohio Players

February 25, 2018

"Give Me Love (Give Me Peace On Earth)'
"My Sweet Lord"
"Blow Away"
"I Dig Love"
"Run Of The Mill"
"Marwa Blues"
"Isn't It A Pity"

February 26, 2018
"Living In America" performed by JAMES BROWN
"Pyramids" performed by Common
"Pyramids" performed by Frank Ocean
"Queen In The Black" performed by Stevie Wonder
"Job Well Done" performed by Chris Dave and the Drumhedz featuring Anna Wise and SiR-WSPC PREMIERE

February 27, 2018
"Oh Daddy" performed by Fleetwood Mac
"By Starlight" performed by The Smashing Pumpkins
"The Ballad Of Danny Bailey" performed by Elton John
"Horsin' Around" performed by Prefab Sprout
"Cry Me A River" (live 12/17) performed by Elise Trouw

February 28, 2018
"King For A Day" performed by XTC
"The Moment" performed by Tame Impala
"Seconds" performed by U2

"Am I Wrong" performed by Anderson. Paak
"Master Teacher" performed by Erykah Badu with Georgia Anne Muldrow


1. "Bright Lights" performed by Gary Clark Jr.
2. "Respect" performed by Otis Redding
3. "Unyielding Conditioning" performed by Fishbone
4. "Atlanta, Texas" performed by Chris Dave and the Drumhedz
5. "The Question Of U" performed by Prince
6. "Soul Sista" performed by Bilal
7. "Sweet Sixteen (pts 1 & 2)" performed by B.B. King
8. "Inspiration Information" performed by Shuggie Otis
9. "Don't Tell A Lie About Me, And I Won't Tell The Truth On You" performed by JAMES BROWN
10."Bold As Love" performed by The Jimi Hendrix Experience

1. "The Loving" performed by XTC
2. "Ecstasy" performed by The Raspberries
3. "Rock And Roll Love Letter" performed by Bay City Rollers
4. "I'm Ashamed Of Myself" performed by The Pursuit Of Happiness
5. "Baby It's You" performed by Phil Seymour
6. "The Love Parade" performed by The Dream Academy
7. "Last Lovers" performed by The Chamber Strings
8. "The Other Man" performed by Sloan
9. "...Said Sadly" performed by The Smashing Pumpkins with Nina Gordon
10."Kiss Them For Me" performed by Siouxsie and the Banshees
11."#1 Crush" performed by Garbage
12."Sowing The Seeds Of Love" performed by Tears For Fears

FEBRUARY 21, 2018
hour 1
1. "Don't You (Forget About Me)" performed by Simple Minds
2. "Love Missile F1-11" performed by Sigue Sigue Sputnik
3. "Wild Sex (In The Working Class)" performed by Oingo Boingo
4. "Turn To The Sky" performed by The March Violets
5. "Ring Me Up" performed by The DiVinyls
6. "Desire (Come And Get It)" performed by Gene Loves Jezebel
7. "I'll Show You Something Special" performed by Balaam and the Angel
8. "Pretty In Pink" performed by The Psychedelic Furs
9. "Round, Round" performed by Belouis Some
10."Radio People" performed by Zapp
hour 2
11. "In A Thimble" performed by Tortoise
12. "Left Of Center" performed by Suzanne Vega featuring Joe Jackson on piano
13. "Growing Pains" performed by Tim Finn
14. "Turn It On" performed by Kim Wilde
15. "Waiting" performed by E.G. Daily
16. "I'm Afraid" performed by Blue Room
17. "The Hardest Walk" performed by The Jesus And Mary Chain
18. "This Woman's Work" performed by Kate Bush
19. "Turning Japanese" performed by The Vapors
20. "Wow, I Think I Love You" performed by John Hughes
21. "Dancin' Across The U.S.A." performed by Lindsey Buckingham
photo of John Hughes on the set of "Pretty In Pink" circa 1985
1. "Them Changes" performed by Buddy Miles
2. "Mess Around" performed by Ray Charles
3. "Moanin'" performed by Art Blakey and the Jazz Messengers
4. "Feelin'" performed by Q-Tip
5. "Funny Vibe" performed by Living Colour with Chuck D. & Flavor Flav
6. "Get Next To You" performed by Jesse Johnson
7. "Hang On In There" performed by John Legend and The Roots
8. "Mary Jane" performed by Rick James
9. "Black Lives Matter" performed by Andre Cymone

Tuesday, February 27, 2018


Released January 26, 2018
NEW 2018 MUSIC: This is the first new release of 2018 that I have heard and it is already one of the very best albums of the year, as far as I am concerned.

Drummer extraordinaire Chris "Daddy" Dave, who has performed with the likes of D'Angelo, Adele, Robert Glasper and even more has at long last struck out upon his own with his band's debut album, a staggeringly well recorded, produced and performed deep dive into neo-soul psychedelia which feels to be the next quantum leap from the musical big bang that produced D'Angelo's "Voodoo" (released January 25, 2000), The Roots' "Phrenology" (released November 26, 2002), Common's "Electric Circus" (released December 10, 2002), Erykah Badu's "Mama's Gun" (released November 21, 2000). J Dilla's "Donuts" (released February 7, 2006) and especially, Q-Tip's far ahead of the curve "Kamaal The Abstract," a work recorded and originally planned for release in 2002 but did not officially see the light of day until September 15, 2009.

Of course, "Chris Dave And The Drumhedz" sounds like the full extension of all of those aforementioned albums. But, the album is not solely an excursion into 21st century psychedelic soul. In fact, in track after track, we can hear the history of Black music, in all of its incarnations from R&B, jazz, hip-hop, rock and roll, blues, funk and variations of Fela Kuti inspired African rhythms through the audio "lens" of an interstellar journey (certainly, nods to Parliament Funkadelic) with Dave's spectacularly elastic drums serving as the engine, as well as the sonic glue, pushing the songs forwards while holding everything together.

Intoxicating, enveloping, succulent, surprising, immersive, flowing, sumptuous and even more, Chris Dave has thrown down the gauntlet superbly, challenging the music year of 2018 to follow suit in the fullness of artistry and creativity.
Released January 12, 2018
Released April 28, 2017
Released May 4, 2007
Released April 30, 1996
Released July 31, 2015
Released November 23, 1999
Released August 8, 2017
Released January 15, 2016
Released May 18, 2004

Released January 15, 1972
Released May 18, 2010
"untitled unmastered"
Released March 4, 2016
Released November 4, 2016

Saturday, February 3, 2018



...And the band played on.

More than enough has been said by me upon this site about the state f the world in the 21st century ad there is no need to run through it allover again. In stead, I just ask of you to take a few moments to think about the nature of the month of February in regards to both Valentine's Day and Black History Month.

Yes, Valentine's Day is essentially nothing more than a Hallmark holiday but even so, I do believe that to have a point in time to just take that moment to think about love, who we love and how we love is a great thing, especially as the speed of life only grows faster. With Black History Month, I am more in tune with the necessity of the month rather than aspects of the month that are indeed problematic for me, as the core is entirely about exploring, discovering, and maintaining a culture and therefore, our history as a people and how that history congeals with WORLD history.

Love. Culture. History.

All of those elements are a necessity for us to fully understand or past and how w e are able to continue marching into our collective futures. And furthermore, all of those elements are aligned perfectly into the music that we all cherish, the music that sustains us. the music that we become.

For this month, as you continue to listen, I invite you to really place the songs into the contexts of love, culture and history. Who knows? You just may hear everything in exciting new ways...

...and as always...PLAY LOUD!!!!!!!!!!!!!!