Sunday, July 31, 2016


July 1, 2016
"Juno" performed by Trent Reznor and Atticus Ross-WSPC PREMIERE
"I'm Amazing" performed by Peter Gabriel-WSPC PREMIERE

"How Am I Different" performed by Aimee Mann
"If I Lost You" performed by Garbage-WSPC PREMIERE
"Encore" performed by Red Hot Chili Peppers-WSPC PREMIERE
"Ful Stop" performed by Radiohead-WSPC PREMIERE
"The Pound Is Sinking" performed by Paul McCartney

"Sometimes I Don't Know What To Feel" performed by Todd Rundgren
"Pink World" performed by Planet P. Project
"Year Of The Dragon" performed by Wyclef Jean
"Wars Of Armageddon" performed by Funkadelic

July 2, 2016
"Chicago" (live 2014) performed by Billy Corgan
"Chicago" performed by Sufjan Stevens
"City Of Chicago" performed by Luka Bloom
"Dear Chicago" performed by Ryan Adams
"Living In Chicago" performed by The Bee Gees

"Comfortably Numb" (live at Live 8-2005) performed by Pink Floyd

July 3, 2016
"Bring You Back" performed by Wendy & Lisa
"Given To Fly" performed by Pearl Jam
"All Girl Band" performed by Book Of Love-WSPC PREMIERE

"Electric Love" performed by Reignwolf
"Remedy" performed by The Black Crowes
"All My Life" performed by Foo Fighters
"Sister" performed by Lenny Kravitz
"Rocks Off" performed by The Rolling Stones

July 4, 2016
"The Star Spangled Banner" performed by Jimi Hendrix
"The National Anthem" performed by Radiohead
"United States" (live Madrid 2007) performed by The Smashing Pumpkins

"America Is My Home" performed by JAMES BROWN
"Hang On In There" performed by John Legend and The Roots

July 5, 2016
"Moribund The Burgermeister" performed by Peter Gabriel
"Fracture" performed by King Crimson
"A Portrait Of Tracy" performed by Jaco Pastorius
"Big Swifty" (live) performed by Frank Zappa
"The Musical Box" (live) performed by Genesis

July 7, 2016
"Un Chagga Lagga" performed by Pixies-WSPC PREMIERE
"It Don't Come Easy"
"Oh My My"
"A Day In The Life" performed by The Beatles
"Rain" performed by The Beatles
"Boys" (live) performed by The Beatles
"Yer Blues" performed by The Beatles
"Liverpool 8"
"Peace Dream"

"Strange Fruit" performed by Billie Holiday
"Baltimore" performed by Prince
"Fear Of A Black Planet" performed by Public Enemy
"I Wanna Breathe" performed by Sananda Maitreya

July 8, 2016
"Shhh/Peaceful" performed by Miles Davis
"Something In The Water (Does Not Compute)" (live Manchester 2014) performed by Prince and 3RDEYEGIRL
"(What's So Funny 'Bout) Peace, Love And Understanding" performed by Nick Lowe

"Soldier Blue" performed by Julian Cope
"Someone Like You" performed by Living Colour
"Sound Of Da Police" performed by Boogie Down Productions
"Armagideon Time" performed by The Clash
"Free" performed by Prince

July 9, 2016
"Healer" performed by Todd Rundgren

"Ain't No Rest For The Wicked" performed by Lennon and Maizy
"Underway" (live) performed by Fleetwood Mac
"Imagine" performed by John Lennon
July 11, 2016
"Magic Bullet" performed by My Morning Jacket-WSPC PREMIERE

"Mad World" performed by Tears For Fears
"Don't Be My Enemy" performed By Wang Chung
"Fear" performed by Lenny Kravitz
"Fantastic Voyage" performed by David Bowie
"Live In The Dark" performed by Jeff Beck-WSPC PREMIERE

"That Hump" performed by Erykah Badu
"Who's Sorry Now" performed by Todd Rundgren

July 12, 2016
"Higher Ground" performed by Stevie Wonder
"Someone's Gotta Change Your Mind" performed by Lindsey Buckingham
"Shadow People" performed by Tom Petty and the Heartbreakers
"Love Sign" performed by Prince with Nona Gaye
"One" performed by U2

"Farewell Angelina" performed by Jeff Buckley with Gary Lucas

July 13, 2016
"Sonchyenne" performed by P.M. Dawn
"Daughter" performed by Pearl Jam
"Hunger Strike" performed by Temple Of The Dog
"Basically" performed by World Party
"The Lifting" performed by R.E.M.

July 14, 2016
"Divine Intervention" performed by Matthew Sweet
"Tenement Funster/Flick Of The Wrist/Lily Of The Valley" performed by Queen
"Death And Destruction" performed by Weezer
"The Man's Too Strong" performed by Dire Straits
"Why Can't I Have You" performed by The Cars

"I Forgive It All" performed by Mudcrutch-WSPC PREMIERE
"Afraid Not Scared" performed by Ryan Adams

July 15, 2016
"Montreal" performed by Kaki King
"Tangerine" performed by Led Zeppelin
"Songs With No Words/Trees With No Leaves" performed by David Crosby
"Hummingbird In A Box" performed by Peter Frampton
"Amelia" performed by Joni Mitchell

July 16, 2016
"Summer Nights" performed by Van Halen
"Veteran Of The Psychic Wars" performed by Blue Oyster Cult
"Walkabout" performed by The Fixx
"Wrapped Around Your Finger" performed by The Police
"Beautiful Child" performed by Fleetwood Mac

July 18, 2016
"Nobody Gives" performed by The Kinks
"Gimmie Some Truth" performed by John Lennon
"Final Straw" performed by R.E.M.
"Zor And Zam" performed by The Monkees
"Two Little Hitlers" performed by Elvis Costello and the Attractions
"In The Flesh" performed by Pink Floyd

July 19, 2016
"Don't Tell A Lie About Me And I Won't Tell The Truth About You" performed by JAMES BROWN
"Liar" performed by Rollins Band
"Shepherds Of The Nation" performed by The Kinks

July 22, 2016
"My Radio Talks To Me" performed by Planet P. Project
"Nothing To Fear (But Fear Itself)" performed by Oingo Boingo
"Jesus Thinks You're A Jerk" performed by Frank Zappa
"Fascist Christ" performed by Todd Rundgren

July 23, 2016
"Beware Of Darkness" performed by George Harrison
"He's Evil" performed by The Kinks
"Shinola" performed by Utopia
"You Haven't Done Nothing" performed by Stevie Wonder
"Martial Law" performed by George Clinton

"America" (live 1986) performed by Prince and the Revolution

July 25, 2016
"Maggot Brain" performed by Funkadelic
"Promised Land" performed by Julian Cope
"Leave" performed by R.E.M.

"Bubbles Burst" performed by The Claypool Lennon Delirium-WSPC PREMIERE
"Dreams Of A Samurai" performed by Red Hot Chili Peppers-WSPC PREMIERE
"Ambulance" performed by The Amazing-WSPC PREMIERE
July 26, 2016
"Work To Do" performed by The Isley Brothers
"Let's Stick Together" performed by Bryan Ferry
"Uprising" performed by Muse
"All For One" performed by The Stone Roses
"We March" performed by Prince with the New Power Generation

"Sabotage" performed by Beastie Boys
"Thugs Club" performed by Jeff Beck-WSPC PREMIERE
"Rivers Of My Fathers" performed by Gil Scott-Heron and Brian Jackson
"Not Enough Love In The World" performed by Don Henley
"Stylo" performed by Gorillaz

July 28, 2017
"To Shelia" performed by The Smashing Pumpkins
"The Mountain Will Fall" performed by DJ Shadow-WSPC PREMIERE
"Te Family And The Fishing Net" performed by Peter Gabriel
"Deeper Understanding" performed by Kate Bush
"Television Man" performed by Talking Heads

July 29, 2016
"Save It For A Rainy Day" performed by The Jayhawks
"Strawberry Wine" performed by Ryan Adams
"Over My Head" performed by Fleetwood Mac

"Temperamental" performed by Everything But The Girl
"Network 23" performed by Tangerine Dream
"Chemistry" performed by Rush
"Outside" performed by Foo Fighters with Joe Walsh
"The Confessor" performed by Joe Walsh

July 31, 2016
"Girl" performed by Beck
"Hey Boy Hey Girl" performed by Chemical Brothers
"Bird Of Prey" performed by Fatboy Slim
"I Like It" performed by Moby
"Fucking With You" performed by Garbage-WSPC PREMIERE


1. "Summer Breaking" performed by Mark Ronson featuring Kevin Parker
2. "Salt In The Wound" performed by Beck
3. "Animal" performed by R.E.M.
4. "A Million Miles Away" performed by The Plimsouls
5. "Bundt Cakes" performed by Barbara Hans
6. "Hands" performed by The Raconteurs
7. "You Don't Need Excuses To Be Good" performed by Sloan
8. "Coming Soon" performed by Queen
9. "Money Maker" performed by The Black Keys
10."Road To Rouen" performed by Supergrass
11."Jealous Dogs" performed by Pretenders
12."September Gurls" performed by Big Star

1. "Fine Time" performed by New Order
2. "Hollywood" performed by World Party
3. "Rhinestone Eyes" performed by Gorillaz
4. "What She Said" performed by TV Eyes
5. "Reunion" performed by M83
6. "The Formula" performed by Thinkman
7. "Catch Me I'm Falling" (12" version) performed by Real Life
8. "Praise You" performed by Fatboy Slim
9. "Black Tie White Noise" performed by David Bowie

1. "Tie Your Mother Down" performed by Queen
2. "Learnalilgivinanlovin" performed by Gotye
3. "Badman's Song" performed by Tears For Fears
4. "Go Robot" performed by Red Hot Chili Peppers
5. "Slow Dancer" performed by Robert Plant
6. "Sloppy Seconds" performed by George Clinton and the P-Funk All Stars
7. "Crazytown" performed by Aimee Mann
8. "They Are All In Love" performed by The Who
9. "1967" performed by Adrian Belew

1. "Sister Havana" performed by Urge Overkill
2. "Dear Rosemary" performed by Foo Fighters with Bob Mould
3. "Comeback Kid" performed by Sleigh Bells
4. "Big Bang Baby" performed by Stone Temple Pilots
5. "Trichotillomania" performed by Trophy Dad
6. "Reach The Beach" performed by The Fixx
7. "Low Tide Of The Night" performed by Everything But The Girl
8. "Far From An Answer" performed by Papas Fritas
9. "What Do Pretty Girls Do?" performed by Kirsty MacColl
10."Pug" performed by The Smashing Pumpkins
11."Heartbeat City" performed by The Cars


Released June 3, 2016
NEW 2016 MUSIC: After his terrific psychedelic pursuits within The Ghost Of A Saber Tooth Tiger, Sean Lennon returns and plunges even deeper down the rabbit hole and this time, he has been joined by Primus's Les Claypool.

"Monolith Of Phobos," The Claypool Lennon Delirium's debut album sounds precisely like the unit's moniker, a 21st century deep dive into a playful yet dark psychedelia that recalls the disturbing dream worlds as conjured by Syd Barrett era Pink Floyd. As also advertised within the band's name, we are indeed hearing the work of a strictly two-man collective where Claypool supplies most to the lead vocals, much of the lyrics and certainly, his incomparable bass playing where Lennon contributes vocals, the lion's share of the instrumentation (guitars, keyboards, drums) and the two co-composed the music.

What the album reveals are selections that travel from the two movement early King Crimson-esque mushroom trip "Cricket And The Genie," the increasingly creepy character study of the late night pervert "Mr. Wright," the seasick chantey of "Captain Lariat," an indictment of the pharmaceutical industry with "Oxycontin Girl," the incomprehensibly, the surprisingly poignant "Bubbles Burst," existence as viewed through the eyes of Michael Jackson's former pet and further and farther beyond.

Truth be told, I am not terribly familiar with Les Claypool's musical legacy, so fans of Primus and Oysterhead would have to tell me how they feel about this album as it relates to his pursuits. But, for me, as a fan of the eclectic Sean Lennon, I find the album more than fascinating as he has again made a conscious decision to more than fully embrace his heritage musically as he has weaved some of his Father's specialized brand of psychedelia and found its gleefully sinister underbelly.

Released November 1971
Released September 9, 2014
Released October 26, 2009
Released May 8, 1974
Released June 17, 2016
NEW 2016 MUSIC: The first thing that grabbed me about this latest album from Red Hot Chili Peppers, their first release in five long years, was the gorgeous streetwise dream world album cover, a painting entitled "Coalition II" by Kevin Peterson, and on which the band has reportedly adopted certain of the characters depicted as emulations of themselves: a girl (guitarist Josh Klinghoffer), a bear (drummer Chad Smith), a raccoon (bassist Flea) and a raven (lead singer Anthony Kiedis).

What further intrigued me about the album was that this would be the first RHCP release in 25 years where the band did not collaborate with Producer Rick Rubin, instead changing up with Danger Mouse in the studio chair, who pushed the band by throwing out previously written material in favor of writing together within the studio setting and crafting tracks out of more layered step-by-step recording than through their standard practice of working out selections through extensive jams sessions. By interview accounts, this process was difficult and challenging for the band but necessary to provide a true sense of evolution. The results, as found upon "The Getaway," do not provide a radical sonic change, but they do indeed showcase some often bold new choices and aesthetics that prove without question that Red Hot Chili Peppers remains a band of vitality, purpose and adventurousness.

Unlike with "I'm With You" (released August 30, 2011), the band's previous album on which it was obvious that Kiedis, Flea and Smith were feeling out the then new, and decidedly arcane presence of guitarist Klinghoffer, who replaced the beloved and departed John Frusciante, "The Getaway" finds the foursome working and playing together as a fully integrated team. Where Kiedis' lyrics and the album's themes of love, sex, mortality, death and California remain the standard RHCP territories, what transpires and transforms greatly is the approach to the band's music, which is consistently rich melodically and rhythmically but also offers quite a number of sonic surprises.

The album's first three songs terrifically set the stage announcing that we are all in for a different RHCP listening experience. sound of a voice emulating a hi-hat opens the album upon the title track, a hypnotic slice of minimalist funk that would not have sounded out of place upon Prince's "Sign O' The Times" (released March 31, 1987). The piano driven "Dark Necessities" and the David Essex influenced zig-zag funk of "We Turn Red" sparkle, shimmer and exist as more nuanced and even intoxicating works than what we may be used to.

Where "The Longest Wave" and "Goodbye Angels" tread familiar melancholic ground, it is on selections like the Elton John tinged "Sick Love," the outstanding Prince/Lipps Inc./Zappa pastiche entitled "Go Robot," the jazzy "Dreams Of A Samurai," the stunning "Encore" as well as heavier tracks like "Detroit" and the jarring loud/quiet tactics of "This Ticonderoga" plus even more, that "The Getaway" offers one unexpected jewel after another.

Red Hot Chili Peppers' "The Getaway" is not a full re-invention by any means. But what it does accomplish, and strongly so, is to provide us with a picture of a band that is continually in the process of evolution. Who knew that the band who once wore tube socks upon their...ahem...appendages, would one day grow into a group so artistically mature and so restlessly in pursuit of greatness.
Released June 24, 2016
NEW 2016 MUSIC: It has just dawned upon me that it was 20 years ago that I, along with the world I would suppose, became introduced to DJ Shadow.

I remember that it was a rainy afternoon and I was killing time just browsing around one of Madison's treasured local record stores, Mad City Music Exchange. I wasn't looking for anything in particular. Just walking, thumbing through albums and then, lightning struck. The clerk in the store began playing "Endtroducing..." (released November 19, 1996), the debut album from DJ shadow, and it was instantly transfixing. An outstanding voyage of instrumental hip-hop that sounded as forward thinking as I could imagine but also as vintage as my favorite Tangerine Dream albums, it was an album I purchased that very day after hearing the first four or five tracks. As I always say, music chooses you and DJ Shadow's "Endtroducing..." sustains me sumptuously to this day as it has also cast its own massively looming shadow over the musical landscape...even DJ Shadow's own continuing journey.

Now, I have always been a person who has championed the artist's right and need to challenge themselves first before pleasing the audience. To grow, to change, to shift styles and genre as each work sis a chapter in an ongoing musical novel, so to speak. If not, then most certainly The Beatles woud have never become THE BEATLES! That said, I also get it when you love a particular album so very much that when the artist in question returns with their next effort, you just wish to recapture that certain something all over again and when it doesn't, you tend to feel somewhat let down. n the case of DJ Shadow, I have to admit that I have fallen within that latter category although I certainly do not begrudge the man for challenging himself with every new release.

And now, we arrive with "The Mountain Will Fall," DJ Shadow's first new full-length release in five years, he again has produced an effort that flies further away from "Endtroducing..." but also somehow finds a way to circle around its orbit while providing a new sonic universe to find yourself slowly becoming lost inside of.

After an introductory "Hi," the album begins with the synthetic slow fade in of the title track, a sea of dense, lushly warm keyboards and synths (again something akin to a vintage, yet updated, Tangerine Dream) that are propelled by booming electronic percussion that sounds like unreleased beats from "Stomp!" A more than captivating beginning to an album that, while will not unseat "Endtroducing..." in my heart, it has otherwise slowly begun to weave its dark spell over me.

Admittedly, the track "Nobody Speak," featuring Run The Jewels felt out of place to me on this mostly instrumental album, as if it was an overly vulgar record label concession (although I do love the line that begins with "Charlie Brown Peppermint Patty Linus and LUCY!!!") And also, "The Sideshow" featuring Ernie Fresh is a solid slab of classic hip-hop but still feels superfluous and unfortunately breaks the spell that had been woven by the sinister instrumentals "Three Ralphs" and "Bergschrund."

But by the time we hit the grinding "Depth Charge," which phases into the terrific "Mambo" and the album's highest peak "Ashes To Oceans," DJ Shadow's blend of live instrumentation, chilly synthetics and his peerless drum programming transform the remainder of "The Mountain Will Fall" into a intoxicating, troubling release that only re-confirms that DJ Shadow operates solely within his own league.
Released July 22, 2016
NEW 2016 MUSIC: Speaking of intoxicating and instantly so...
It was just about one year ago when I became acquainted with The Amazing, a Swedish band whose "Picture You" (released February 17, 2015), was a dreamy, elegiac album that was sumptuously captivating. Now, the band arrives with "Ambulance," and this effort is even better.

Again blending psychedelia, curlicues of melodies and blissfully interlocking guitar lines and riffs, The Amazing has crafted a terrific album of a superbly sustained mood and tenor. It is as if they have captured Blue Oyster Cult's "Don't Fear The Reaper" inside of a jar and were somehow able to manipulate the music into crating a collection of new songs. The dream like vocals and somnambulant guitar heroics flow seamlessly over the album's eight tracks, weaving a spell I think will hypnotize you into an entranced state between waking and dreaming.

Tuesday, July 19, 2016


I could not have wanted for a better time and for every time I am able to find myself back behind the microphone and the boards, I could not be any more thankful to be able to do it all over again.

Dear readers and listeners, the weekend of July 8th brought with it the 4th annual WLHA Resurrection /Reunion event as broadcasted upon the beautiful student and community radio station, WSUM-FM, located in the heart of, yet blissfully high above, the University Of Wisconsin-Madison campus. When I first participated in these events four years ago, it was purely accidental as a chance hearing of a promotional advertisement for the first event as I drove around the city listening to 'SUM was the moment that felt like a lightning strike.

What if I had never heard that promo? To think of all that I would have missed within my life at this stage. I would have missed out of discovering a newfound understanding of the radio station's history and the connective tissue that exists between WLHA and WSUM, as well as my small place within that space and time. I would have completely missed out upon a way to have a creative outlet that has always meant the world to me by returning to a cherished period of my past but now armed with a much deeper appreciation and gratitude that extends itself not only to these reunions but to my weekly place on WVMO-FM. I would have missed out on gaining a larger and broader significance and understanding of my connection within my specialized "tribe" of passionate music and radio lovers and devotees. But most importantly, I would have missed out upon reuniting with dear friends and within the very context of where we first met.

What a difference one year makes.

This time last year at the 3rd annual WLHA Resurrection/Reunion event, I found myself almost ruining my own time at WSUM by self-consciously and sadly musing over audio mistakes and kicking myself over a wrongheaded sense of perfectionism for myself, instead of just being deliriously happy to be in the studio at all, and with my friends to boot. Perhaps I was fearing that since there are no guarantees that WSUM would allow these events to occur year after year, I was feeling hypersensitive to the idea that it could all end at any time, meaning that my radio days could also be silenced very quickly as well. And so, with that, I just felt "off" the entire time, again not realizing that just being within the moment itself was the most important thing. I was among friends and on the radio, what's better than that?

Interestingly enough, life or fate or coincidence revealed itself months afterwards. Since that time, I have been so thankful to have been invited to join the ranks of WVMO and add my voice to an exciting new community radio station on a weekly basis. Having the opportunity to return to something so wonderful has not only provided goodwill for my spirit as it is truly one of the highest highlights of my week, I also found myself feeling so relaxed when Casey Peckham once again placed the call out to all former WLHA DJs for this year's event. Even with WVMO now in my life, there was no conceivable way that I would miss out on the reunion weekend, because, quite simply, whatever my life with radio has been or would ever become, it ALL began with WLHA and I am blissfully obligated to pay homage and participate.
On the morning of Sunday, July 10th, I arrived at 333 East Campus Mall, home of WSUM, on my cherished former college campus and called up to the studio to Kevin Ruppert a.k.a. "Nivek," to be let indoors and upstairs into the studios. At this time, I had been listening to the weekend in my car as Nivek, working alongside another former WLHA DJ, was co-hosting a program featuring hit pop songs from the movies.
By the time I arrived back in the studio, I was stunned to realize that Nivek's co-host, Tom MacDonald, was actually far out of state in Virginia, maintaining a smooth and steady LIVE dialogue while also programming the music from afar!! The magic of radio and the wonders of technology will never cease to amaze me.
As the show continued, I took my time just wandering around the WSUM studios all over again, marveling how the iconography was so reminiscent of days long ago and how thrilling the energy of all of the sights remained to me. As I have said, WSUM is precisely the radio station that I saw inside of my head and dreams whenever I sat in that tiny, musty smelling, windowless basement dwelling in the bowels of the J.F. Friedrick Center, where WLHA resided in its final incarnation until its demise in 1993.
I took in the sights of small posters advertising some of my favorite WSUM programs including Petey's "Rock And Roll Over," which airs early Tuesday mornings as well as the illustrious DJ Nightway's flat out terrific "The Mixtape," which airs Wednesday evenings, and one that I enthusiastically catch on my way home from the WVMO studios each week.
I explored the extremely well deserved collection of awards WSUM has received over the years...
...and I also found myself perusing the copious signage that marks the walls of the studios...
...and what I possibly enjoyed the most at this stage was seeing the wall of Polaroid photographs of WSUM DJs, all so young, so vibrant and so thrillingly excited to be apart of something I feel to be just rapturous at its finest. 

I smiled to myself, and broadly so, because even though I knew none of these people and they certainly did not know of me whatsoever, we all belonged to the same "tribe" and in doing so, we all stood upon the shoulders of each other, ensuring the existence and longevity of this radio station, regardless of the call letters. If anything, this moment, looking at all of those faces, instilled within myself the proper spirit in which to engage during this event...just be happy that you are, and continue to be, a part of something so pure and true and filled with tremendous connections and community. Just have fun and translate that fun to the audience and we can all have a wonderful experience together each and every time. 

And then, it was almost 9 a.m. and it was time to get myself on the air once again...
Getting behind the boards at WSUM (and also at WVMO) is very much like I would imagine what sitting on the bridge of the Starship Enterprise might feel like--an old joke of mine but quite apt considering the level of technology at one's fingertips compared to the WLHA days back in the late 1980's/early 1990's, where we only worked with (and to quote Beck) two turntables and a microphone (you can thank Kelly & Sue for that great one)! 

Even with state of the art technology, there are kinks to be hand. Last year, the CD players caused a slew of issues and both have been replaced with spanking new ones but the board itself, with all of its beautiful bright lights, is now of a slightly older variety than it was when I first saw it for a WSUM radio interview I gave back in 2002. Lights don't shine as brightly and that is what caused me some problems this time around as I was unsure as to how the board and CD players "spoke" to each other regarding when songs were cued and ready to be played on-air. Yes, I had a few moments of surprising dead air and impromptu ad-libs while things were sorted out properly but this year, it all just rolled off of my back and I found myself reveling in the unpredictability of live radio--again, remembering to make it fun and then, listeners will play along, be more than forgiving and have fun as well. 
Before I knew it, Lisa Grueneberg, who performs on-air under her alias of "The Grue," arrived with her trademark smile and sweetly crinkled eyes and gave me a wonderfully warm embrace. Very quickly, she set a pair of headphones upon herself and as the second hour of my DJ shift began, she and I went about a 20 minute plus on-air dialogue about our past radio adventures from creating radio show program names to piggy-backing upon a live caller from the night before, as we also spoke at length about what student radio meant to us at the time, what it means now and even diving into the art of designing what a radio show could possibly be. 
It was also during this part of the day where we were excitedly pleased to meet a current member of the WSUM staff, Assistant Technical Director Rolands Lauzums, who is also the DJ/host of not one but two 'SUM programs, "The Space Age Bachelor Pad" (which airs each Wednesday at 4 p.m.) and "Moral Panic!" (which airs Thursday nights at 10 p.m.). In addition to providing us with tremendous assistance throughout our time on air, we also invited him to join us on the mic as he spoke of both of his programs, his life at a student DJ and he even gave us some 21st century insight into the current status of that symbol of musical affection between friends, soul mates and hopeful romantic partners: the mixtape.

To me, this whole section of my particular shift felt to be so free flowing, easy going and wholly natural that not playing music for such a stretch did not feel self-indulgent. I certainly hope that for the listener, it was a section that was entertaining to hear because I can easily tell you that it was great fun for me. Perhaps, I should try to do radio interviews or group sessions like this again one day, huh?

Essentially, I was feeling what I know that Casey Peckham hopes for with every annual event: that the time feels like a party. Not one that excludes the audience but one that is of equal benefit for the audience and the DJs themselves. All morning long, especially once Lisa arrived and followed by Rolands, Casey plus Nivek and other co-horts from the AM era of WLHA continued to come and go, all the while adding to the overall party atmosphere. And when Kelly Klaschus and Sue Grass arrived, propelling themselves comically upon the glass of the opposite side of the studio wall, my heart lifted even more. And frankly, how could it not? 
Trust me, dear readers and listeners, if you knew Kelly and Sue personally, you would be taken in instantly. Their combined warmth and wit is nothing less than completely infectious. Their musical taste (like Lisa's) is equally impeccable. And when those elements are merged, you have two radio hostesses who have an ease about themselves on air that I truly believe would inspire listeners to remain as their audience for as long as they would choose to have themselves broadcasted over the airwaves. 

But before, Kelly and Sue arrived on air in full, it was not only Lisa's solo turn for her one hour program, it was also time for Kelly and Sue to do some exploring...
For the past two years, Lisa Grueneberg has joined me on-air as my lovely co-hostess/co-pilot as she had not fully desired taking on the entire role of providing the music set list quite yet. This year, however, she was more than excited to take the helm. 

Once switching DJ seats as my last song, Prince's propulsive seven minute "F.U.N.K.," filled the speakers, Lisa began her show in earnest. And while she would tell you herself that maybe she said too many "ummms" between words, to my ears, she sounded just wonderful and furthermore, after just one on-air snafu which mirrored by own during my set, she mastered the 'SUM boards on the first try for her full 60 minutes and the effect was wonderfully seamless and filled with the sounds of glorious power pop melodies and harmonies that drifted down the 'SUM hallways and throughout the city of Madison. Aside from a brief portion where I sat in with her to have some verbal back and forth, Lisa flew solo and beautifully so.
Meanwhile, in other areas of the WSUM studios, Kelly and Sue embarked upon a journey that was nearly a mirror to my own journey during the very first Resurrection/Reunion event. As guided by Rolands, Kelly and Sue were finally able to head into the WSUM vault/library to explore the vinyl stacks and re-discover the very albums that we had played ourselves during our years in the late 1980's/early 1990's--quite a number of those very same albums made their way to their 2 hour broadcast this very weekend. 
In addition to reuniting with each other, it was truly blissful to reunite with "old friends" such as  the original Canadian EP version of "I'm An Adult Now" by The Pursuit Of Happiness and even the original 12" single version of XTC's "The Mayor Of Simpleton," both of which are the very copies we all played when they first arrived in the mail at WLHA!
These findings also led to many laughter filled conversations between ourselves and Rolands who was quite fascinated with the hows and whys we wrote and defaced album cover after album cover in order to discourage DJ thefts. "You guys had entire conversations on some of those albums!" Rolands remarked. Yes, we certainly did and especially so on the albums we absolutely, positively, unequivocally hated like Black Flag's hilariously repugnant "Slip It In" release, on which the written comments have become the source of some minor legend. (As for the album itself, listen to it at your own risk--you have been warned!!!!)
And just as that very first time, I was still so amazed, and now joined in the very same amazement by Kelly, Sue and Lisa, to find our own handwriting scrawled across the jackets after all of this time when these very albums should have been lost to the four winds yet survived all of the changes of stations and locations to survive in 2016, intact and ready to be played by anyone who chose to pull one from the shelves, place it onto the turntable and send the music over the airwaves to the masses. 
And so, 51 songs later and with much laughter and joyfulness abound, our time during the 4th annual WLHA Resurrection/Reunion weekend was completed. I do not think that I am able to impress upon you enough that instead of five full hours, the day truly felt as if only a mere five seconds had elapsed! Before I knew it, it was over, we bid our farewells and the day now exists in our memory, as well as our listening devices as Casey valiantly recorded the entire weekend for all of us to experience as many times as we wish.

For now, I am compelled to send out a series of thanks...

1. To WSUM's Dave Black, station management, student and community DJ staff and to Rolands Lauzums, I deeply appreciate your kindness and willingness to turn your station over to the veterans for one more weekend for another year. It is an event that I sincerely hope is able  to continue for years to come as this wonderful place has meant so much to so many and continues to hold a connective link to everyone who has ever followed the ones who came before. The legacy is rich and real and your openness has allowed that legacy to thrive onwards.

2. To Kevin "Casey" Peckham, our fearless leader, our pied piper, I thank you for once again taking on this massive task in organizing and scheduling this event plus this year incorporating live remote segments as well as a trivia contest to boot. Your "kid-in-a-candy-store" enthusiasm, beaming smile and festive attitude is unquestionably the shining sun to this radio reunion universe as with each year, I am able to see how this is so much more than truly is community, from past to present, from music to DJ, from DJ to audience. Like the very best records, it is forever revolving, thanks to you and your associates!

3.  And to Kelly, Sue and Lisa...what else needs to be said other than I love you all so very much. May our own connections remain strongly bonded, in radio certainly, but in life definitively!

As I wrote just a few hours after returning home from the weekend, I just never knew back in 1987 how important this DJ path would have ever been or mean to me...and without a doubt, it means more to me every single day.

Can we do this again next year, please????? I'm ready!!!!

Monday, July 11, 2016


BROADCAST PLAYLIST: WLHA DJs (late 1980's-early 1990's)
1. "? (Modern Industry) performed by Fishbone
2. "The World Awake" performed by Prefab Sprout
3. "Same Thing" performed by The Grays
4. "Sunday Papers" performed by Joe Jackson
5. "The Moment" performed by Tame Impala
6. "Deja Vu And The Sins Of Science" performed by Tears For Fears
7. "Hollywood" performed by World Party
8. "Tutti Frutti" performed by New Order
9. "Breaking Glass" performed by David Bowie
10."Every Little Word" performed by Flesh For Lulu
11."Wishing (If I Had A Photograph Of You) performed by A Flock Of Seagulls
12."Situation" performed by Ric Ocasek
13."The Marriage O Heaven And Hell" performed by Utopia
14."San Bern'dino" performed by Frank Zappa
15."Bad Reputation" performed by Thin Lizzy
16."Roll Me" performed by Cheap Trick
17."Young And In Love" performed by The Pursuit Of Happiness
18."Star 69" performed by R.E.M.
19."F.U.N.K." performed by Prince
1. "Waitress In The Sky" performed by The Replacements
2. "Balloon Man" performed by Robyn Hitchcock and the Egyptians
3. "Here Comes Your Man" performed by Pixies
4. "Down Your Block" performed by Trip Shakespeare
5. "Drivin' On 9" performed by The Breeders
6. "Then She Appeared" performed by XTC
7. "Just Like Heaven" performed by The Cure
8. "Some Girls Are Bigger Than Others" performed by The Smiths
9. "Mirror In The Bathroom" performed by The (English) Beat
10."Ever Fallen In Love (With Someone You Shouldn't've)" performed by The Buzzcocks
11."Back Of My Hand (I've Got Your Number)" performed by The Jags
12."The Mayor Of Simpleton" performed by XTC

1. "I'm An Adult Now" (original Canadian single EP version) performed by The Pursuit Of Happiness
2. "Left Of The Dial" performed by The Replacements
3. "Little Red Corvette" performed by Gear Daddies
4. "These Important Years" performed by Husker Du
5. "All Of My Senses" performed by Grant Hart
6. Kevin Fulk intro/"Buffalo Stance" performed by Nenah Cherry
7. "Drive, She Said" performed by Stan Ridgeway
8. "She Got Me Where It Hurts" performed by The Other Kids
9. "Killing Moon" performed by Echo and the Bunneymen
10."Burn It All Down" performed by Spooner
11."Carry The Torch" performed by Fire Town
12."Bad Boyfriend" performed by Garbage
13."Kooks" performed by David Bowie
14."Blood And Roses" performed by The Smithereens
15."Scarred But Smarter" performed by Drivin' N' Cryin'
16."We Will Not Be Lovers" performed by The Waterboys
17."Particle Man" performed by They Might Be Giants
18."Anywhere But Here" performed by The Replacements
19."Don't Chop My haircut" performed by The Rousers
20."Mad Town" performed by The Other Kids

Until next summer....

Tuesday, July 5, 2016


I'm ready!!

The strikingly prolific young men of the Madison, WI based band Post Social are continuing to work at their lightning fast pace as their third album, officially entitled "Casablanca," is set for release in late July, a mere nine months after the release of their second album "Young Randolphs" (released October 3, 2015).

Miraculously balancing college, jobs and all other areas of their post-high school lives with writing, recording and performing, guitarist/vocalist Mitch Deitz, bassist Sam Galligan, drummer Brendan Manley (who performs double duty in the band Dash Hounds, also readying their debut EP) and guitarist/vocalist Shannon Connor have expanded their sound and recording process with another self-produced effort that will hopefully attract new audiences while continuing to enthrall their loyal fan base.

Reaching out to Shannon Connor, I spoke to him briefly about "Casablanca" for the scoop!
Now that “Casablanca” is finished and almost ready to be released to the world, how is the band feeling about the album?
We still haven't sat down to listen to the album all the way through or determine the order of the songs, but I think we're just relieved that we're getting it out there. There were times when it felt overwhelming to be at the helm of a big project by ourselves without a producer or any other extra help, so it's nice to know that we pulled through. I'm definitely really pleased with the ground that this album covers, and I'm excited for people to hear it.

What do you think listeners might be able to expect?
I would say this album is different in that it doesn't stick to a dominant theme or style. It's just more of a party favor grab bag vibe. We tried to switch up the song structure and go out of our comfort zone more. It's less "punk" or "garage rock"/whatever than the last album, but there's still some of that for good measure. There's moments where it sounds kind of like our first album even. There's another song that has a drum machine on it. There are some ambient "soundscapes,” especially on the song with 40+ tracks, and on another song there's a sample of a You Tube video, which we haven't done before, so hopefully we don't get sued. I liked the name "Casablanca" for this group of songs because it didn't have anything to do with the music.

How do you think that the band has grown over the course of the three albums, from “Post Social” to “Young Randolphs” to “Casablanca”?
For both our first album and “Young Randolphs,” we started recording the album in the late spring and finished in the late summer. The process was pretty painless. “Casablanca” took six months and we indulged more in the recording process than ever. A lot of that has to do with trying to get a hi-fi sound and laboring over the way we recorded our instruments, especially drums. Compared to “Young Randolphs,” where we just recorded with two or three mics at a time and bounced everything down to a four track cassette tape, there was a lot more effort in the mixing stage this time around. Since everything was done digitally this time, and we weren't paying for a studio, we took advantage of that situation. We have a song on the album that has over 40 different tracks, and that just wasn't possible before. So, to me, that's one way that we've grown. I think this album is also our broadest as far as the sounds we went for, so there's a lot more diversity than the last two albums. To me this album was reflective of our first year in college/out of high school in an emotional way. I don't know if that necessarily comes through in the music but I think that's the way I'll remember it.
Do you tend to write more than you actually record or did you record a large amount of material and then whittle it down?
Our writing process usually involves weeding out songs that aren't working before we record them, so we don't normally have anything to whittle down after recording an album. This time around, we did record a song, “Poster Boy,” and release it as a b-side to the “Guac Bomb” single because we didn't think it fit right with the rest of the tracks on the album. This was pretty much because we recorded the song without Sam. In the future, I think we'll try to record more songs fully before we decide to scrap them. When we get together to rehearse songs leading up to recording an album, we generally record a video with my iphone. The audio quality is terrible but we're going to throw out the recordings for free online at some point, with some other recordings that we used our real studio equipment for. There's a couple songs that had alternate takes we aren't using, so I guess that qualifies as recorded material we whittled down.

What was the toughest song to record?
The toughest song to record was either the song "Full Stop,” (which may or may not be re-titled "Heat" on the album) or our giant million-track song called "Eyes Closed.” The latter obviously had a lot of time put into it, because there are over 40 tracks on it. (I should find out the exact number). There is a large break in the middle of the song that I wanted to have some ambient noise in, and Brendan and I spent an afternoon recording weird sounds from a synth and other things run through pedals.

After that, I still wanted more so I got my history teacher from senior year, Bill Gibson, to record some of the many synths and weird instruments he has at his house. I packed up all of the recording equipment that we had set up in my bedroom and drove to his house and set it up in his basement where he keeps his synths, and then I recorded him messing around. While that song was hard to piece together, “Full Stop/Heat” was also difficult because we did a couple attempts and weren't satisfied with the way the song sounded. We were initially trying a bit too hard to get the drums to sound crispy and tight and we ended up doing a recording that used a drum machine, which just sounded too fake for the vibe we were going for. After a while, we recorded a version we were satisfied with. We'll put that drum machine version out with the rest of the demos.

When people finally get the chance to hear “Casablanca,” what do you hope that listeners take away from the experience?
I hope that listeners can enjoy the album front to back and not get sick of it. I think there's a lot of depth to this album so I hope people can get into as much as we did.

Saturday, July 2, 2016


I am truly stunned by the amount of negative press and reviews that "Roadies," the brand new and first television series from Writer/Director Cameron Crowe has been receiving.
Starring Luke Wilson, Carla Gugino and Imogen Poots, "Roadies" is a 10 episode series for Showtime that details the daily/nightly adventures of the behind the scenes crew during a major concert tour for the fictional Staton-House Band (which true to the spirit of the show's title is never seen performing). Criticisms for the show have already been harsh, ranging from comments about not really having fully developed characters who are differentiated from each other very well, to not really depicting or knowing what real world roadies actually do and finally, claims that Crowe's style is overly corn-pone--all criticisms that I vehemently disagree with.

Granted, only two episodes have aired but so far, I have fallen hard for this series as, to my perceptions, we have been given Cameron Crowe firmly within his element of character and not plot driven comedy/drama, his standard theme of maintaining a level of integrity in a world where such currency holds less value and all filtered through a conceptual level of idealism that is near devotional. Character development will obvious occur over the remaining eight episodes and furthermore, the series is not a documentary either. It is not a series of tortured anti-heroes, graphic violence and enveloping darkness. "Roadies," above all other qualities, is unquestionably and unrepentantly romantic series about a collective of individuals who have formulated a rag-tag family where their shared love of music sits at the core. For me, that is the element that made a direct hit to my heart, because what else is the love of music but romantic?
I am writing about this series because this month, I will be participating in the 4th annual WLHA Resurrection/Reunion weekend as hosted and broadcasted upon WSUM-FM during the weekend of July 9th-July 11th. I am scheduled once again to take to the airwaves on Sunday, alomgside my friends and DJ compatriots, Kelly Klaschus, Sue Grass and Lisa Gruneberg otherwise known as "The Grue" for a full five hours and I am so anxious to return to the fully upgraded locale of my first radio home.

By attending this weekend once again, and now in addition to my weekly Savage Radio program for WVMO-FM, I am reflecting upon all of the people that I have met, collaborated and have become and remained friends with over the years solely through something so pure, simple and yes, as romantic as a shared love for music that is indeed nothing less than devotional. I think of the people I otherwise would never had known if not for a desire to take the music that has meant the most to us and to share and play it over the radio airwaves for anyone who chose to listen.

To me, that is a beautiful thing, utilizing music as a connective tissue to other like minded people regardless of our respective stations in life, as well as race, age and gender. And furthermore, it is nothing less than a blessing to have become a part of something that is so much bigger than any one individual, something that (in the case of WLHA) possesses a vast history and something (in the case of WVMO) is in its infancy and we are all able to help grow its history and legacy, which I deeply hope becomes triumphantly long lasting.

I would like to think that every single DJ, whether from WLHA, WSUM, WVMO or anywhere else around the world (and that includes the fantasy radio station of WSPC), feels as I do about the communal spirit that arrives through the radio airwaves everytime we listen or spin one more song with the hopes of establishing a connection. That incredibly romantic feeling that arrives when messages are sent and received musically, signifying a shared language we can use to communicate with each other. These observations, somewhat lost on me when I was younger, are paramount to me now and I sincerely hope that every radio show is an enjoyable, entertaining one where the fun and love that I am having is evident because I am wanting for you to have the same amount of fun as well.

When I watch "Roadies," that devotional love that Cameron Crowe possesses for his characters and the music that moves and motivates them, as well as himself, performs exactly the same feats as the very best of radio's and music's influence within my life, and I am certain, your lives as well. If you haven't watched the series, I urge you to give it an honest chance. If you are so inclined, I sincerely hope that you tune into any of the radio stations listed with this posting to gather exactly what I am writing about.

And if you can feel that sense of devotional love, then show me by turning everything up because that kind of love deserves to be shared. So...

...PLAY LOUD!!!!!