By in show blog on Mar 18, 2017 |



18 MARCH 2017 

{With Special In-Studio Guests Cordcalling!}

Intro (3:58)

Theme from The Littlest Hobo

The Littlest Hobo is a Canadian television series based upon a 1958 American film of the same name directed by Charles R. Rondeau. The series first aired from 1963 to 1965 in syndication, and was revived for a popular second run on CTV, spanning six seasons, from October 11, 1979 to March 7, 1985. It starred an owner-less dog.

All three productions revolved around a stray German Shepherd, the titular Hobo, who wanders from town to town, helping people in need. Although the concept (of a dog saving the day) was perhaps similar to that of Lassie, the Littlest Hobo's destiny was to befriend those who apparently needed help, portrayed by well known actors in celebrity guest appearance roles. Despite the attempts of the many people whom he helped to adopt him, he appeared to prefer to be on his own, and would head off by himself at the end of each episode.

Never actually named on-screen, the dog is often referred to by the name Hobo or by the names given by temporary human companions. Hobo's background is also unexplained on-screen. His origins, motivation and ultimate destination are also never explained.

Although some characters appeared in more than one episode, the only constant was the Littlest Hobo himself. Plots ranged from the simple "dog-helps-person" stories to secret agent-type adventures. The series theme song, "Maybe Tomorrow", was sung by Terry Bush. In 2005, Bush commercially released the song on his debut album, entitled Maybe Tomorrow. The song was later used in a 2011 Dulux paint advertisement.

Inspiration Information Block (15:39)

Come As You Are – Nirvana (1991/Nevermind)

"Come As You Are" was written by frontman Kurt Cobain and released as the second single from the band's second studio album Nevermind in March 1992. It was the band's second American Top 40 hit, and second UK top 10 hit, reaching number 32 on the Billboard Hot 100, and number nine on the UK Singles Chart.

The unexpected success of the album's lead single, "Smells Like Teen Spirit" drew Nirvana to mainstream success, with Nevermind being released two weeks after the single's release. Following the album's release, the band and its management company debated whether to release "Come as You Are" or "In Bloom" as the next single from the album due to Cobain's concerns over similarity of the former with the Killing Joke song "Eighties" (1984). After some persuasion by the management company, Cobain agreed to release "Come as You Are" as the second single because of its commercial potential. Killing Joke were upset over the song, and there were rumors that a lawsuit had been filed over the song, though the suit never materialized. Killing Joke guitarist Geordie Walker in particular was said to be angry about the whole situation, and he felt that Nirvana (which according to Walker denied the connection between the songs) handled the matter poorly.

The music video for "Come as You Are" was directed by Kevin Kerslake, who drew inspiration for it from the cover artwork of Nevermind.


Rosemary – Lenny Kravitz (1989/Let Love Rule)

Let Love Rule is the debut studio album of Lenny Kravitz, released on September 19, 1989 by Virgin Records. Then-wife Lisa Bonet wrote the lyrics to "Fear" and co-wrote the lyrics on the song, "Rosemary".

Let Love Rule reached number 61 on the Billboard 200, while it peaked at number 56 on the UK Albums Chart. Initially, the album was a moderate success in the United States, but became a hit worldwide, particularly in Europe, selling over 2 million copies. The album was certified gold in the United States in 1995. As of November 2002 the album has sold 860,000 units in the US.

Rose Garden – Shad (2010/TSOL)

{Contains a sample from "Rose Garden" by Lynn Anderson}

Born in Kenya, of Rwandan parents, Shad was raised in London, Ontario. Shad is bilingual, speaking English and French. He holds a business degree from Wilfrid Laurier University and a master's degree in liberal studies from Simon Fraser University

His debut album When This Is Over (2005) was self-made, financed with the $17,500 he won from 91.5 The Beat's Rhythm of the Future talent competition during his time as an undergraduate student at Wilfrid Laurier University. The album was recognized for Shad's honest lyrics and focus on social causes—for example, the track "I'll Never Understand" examines the Rwandan genocide and includes poetry written by his mother, Bernadette Kabango.

In 2007, Shad was signed by Black Box Recordings for a three-album deal and released his second album, The Old Prince. In 2008, that album received a Juno Award nomination for Rap Recording of the Year, and was a short-list nominee for the 2008 Polaris Music Prize. The album was also nominated for two MuchMusic Video Awards.

Shad released his third album, TSOL, in 2010. TSOL was a short-list nominee for the 2010 Polaris Music Prize, received a nomination for a 2011 MuchMusic Video Award, and won the Juno Award for Rap Recording of the Year at the 2011 Juno Awards. On beating out Canadian compatriot Drake for the Juno, Shad said in an interview: "I did not think for a second that I would win. Not for one second. He's massive. He's massive in the States, he's massive in Canada.".

In June 2013, Shad released a collaborative EP with Skratch Bastid entitled The Spring Up. Shad's fourth album, Flying Colours, was released on October 15, 2013. This album was nominated for a Juno Award for Rap Recording of the Year in 2014, and was also a short-list nominee for the 2014 Polaris Music Prize.

In 2016, he released the pop-rock album Adult Contempt under the pseudonym Your Boy Tony Braxton. In the same year he collaborated with Tanya Tagaq on "Centre", a track on her album Retribution.

In March 2015, it was announced that Shad would replace Jian Ghomeshi as host of CBC Radio One's Q. In August 2016, the CBC announced that he would be replaced by Tom Power. The CBC said it was in negotiations for Shad to continue with the CBC as host of a different program.

In the four-part documentary series Hip-Hop Evolution, Shad interviewed multiple noted hip-hop and rap artists to explore the origins of this music genre. This documentary was featured in 2016 Hot Docs Canadian International Documentary Festival and shown on HBO Canada On December 2, 2016 Netflix released the series internationally.

Hip-Hop Evolution features in-depth, personal interviews with earliest progenitors of Djing, rapping, and production including DJ Hollywood, Russell Simmons, and Coke La Rock adding to the existing understanding of hip-hop's earliest decades. The first episode documents the history of the first hip-hop party at 1520 Sedgewick Ave in the Bronx where DJ Kool Herc aka Clive Campbell emerged as a godfather of the tradition. The role of Kool Herc's sister is seen, revealing the normative patriarchal bias that excludes girls and women from hip-hop.

Girl, You Have No Faith in Medicine – White Stripes (2003/Elephant)

Elephant is the White Stripes' fourth full album and the second to be released by V2 Records. It was recorded over two weeks in April 2002 in London's Toe Rag Studios except for the songs "Well It's True That We Love One Another," which was recorded at Toe Rag in November 2001, and "I Just Don't Know What to Do With Myself", which was recorded at the BBC's Maida Vale Studios. Jack White produced the album with antiquated equipment, including an eight-track tape machine and pre-1960s recording gear. As stated in the liner notes, White deliberately refrained from using computers during Elephant's writing, recording, or production. The White Stripes set their own rules while they were recording this album: ten days in a non-modern studio. They chose to record in Liam Watson's modest Toe Rag studio in Hackney, London, England. The liner notes included the disclaimer, "No computers were used during the writing, recording, mixing, or mastering of this record," and none of the recording equipment was more recent than 1963.

The album's themes revolve around the idea of the "death of the sweetheart" in American culture. In this album, the White Stripes expanded their style more than ever before, such as using a bass line. Moreover, during the album Jack played guitar or keyboard to fill out the sound but to the audience, it still felt raw. Like other White Stripes records, the cover art and liner notes are exclusively in red, white, and black, and there is a song that contains the word "little" in the title ("Little Acorns").

The album has been released with at least six different versions of the front cover—different covers for the CD and LP editions in the US, the UK and elsewhere. To give an example, on the US CD edition Meg White is sitting on the left of a circus travel trunk and Jack is sitting on the right holding a cricket bat over the ground, while on the UK CD edition the cricket bat touches the ground and the image is mirrored so that their positions on the amplifier are reversed. The UK vinyl album cover is the same as the US CD but differs in that the color hues are much darker. The cryptic symbolism of the album art includes a skull sitting on the floor in the background, as well as peanuts and peanut shells in the foreground, and on the circus travel trunk appears the mark "III," Jack White's signature. Jack White is also displaying a mano cornuta and looking at a light bulb intensely, while Meg White is barefoot and appears to be crying, with a rope tied around her ankle and leading out of frame. Both have small white ribbons tied to their fingers. On the reverse side of the U.S. edition, all of the number "3"s are in red (disregarding the authorization notes at the bottom).

The Record Store Day 2013 vinyl and August 2013 180-gram black vinyl reissues have Meg wearing a black dress instead of the usual white dress; the only other release with Meg wearing the black dress was on the V2 advanced copy back in 2003. The advanced copy was on red and white vinyl, while the RSD copy has red, black and white colored vinyl in 2013.

In an interview with Q Magazine in 2007, Jack White said, "If you study the picture carefully, Meg and I are elephant ears in a head-on elephant. But it's a side view of an elephant, too, with the tusks leading off either side." He went on to say, "I wanted people to be staring at this album cover and then maybe two years later, having stared at it for the 500th time, to say, 'Hey, it's an elephant!'"

SCGCCC (10:30)

Happy – Cordcalling (2017/We are Still)

Untied – Cordcalling (2017/We are Still)

My Friend – Cordcalling (2017/We are Still)

Wicked Desires – Cordcalling (2010/Obsessed by the Light)

All four songs we played for you are from our in studio guests, the band Cordcalling, made up of husband and wife duo Denise and Brian Conway. The last track you heard on sCreamGrrrl’s Can Con corner is called Wicked Desires and one of my favourites. You can find it on their 2010 album titled Obsessed by the Light. We also played 3 new songs for you called My Friend, Untied and Happy from their upcoming 2nd full length album titled “We are Still,” to be released next month on April 8th. HowieZowie and sCreamGrrrl have been fortunate to get a sneak peak at the new album before its official release date. We’ve listened to the album this week, while hanging out in our sun room and I have to tell you that it’s absolutely amazing. These two totally freak me out and I mean that in a good way. Their sound is hard to pin down. They seem so familiar to me yet so unfamiliar. They definitely have a style of their own.

The Album Release will take place at the London Music Club in the Big Hall on the main level on April 8th doors open at 6:15pm with Cordcalling hitting the stage at 8pm. Minimum cover is $3 at the door and you can’t beat that.

Then on April 22nd Cordcalling will be performing live at Grooves Record Store from 1 to 1:40 pm. And very important to mention that April 22 is Record Store Day, notably the 10th anniversary of record store day and sentimentally just in time for commemorating the independent music scene. You can also pick up hard copies of their LP at Grooves on this day. We promise you will not be disappointed. Admission is free so check them out.

And you can find all this information on their official website and they also have a FB page you can check out that has created these events on-line.

Sez Cordcalling: 

"Happy" is the first track on our new album "We are Still." The following influences may be heard in the song: punk, heavy rock, and even hip hop. It contains many parts that are unique in themselves, but also fit together as a cohesive whole. The message of this track is related to the dystopian American Dream. It is about the vain struggle to find meaning in worldly success and exposes the search for true purpose.

"Untied" is the first song that we wrote together (that we've recorded so far). It was created by integrating two song parts that we came up with individually without the original intention of melding them together. When we were searching for songs for our new album, we were listening to the ideas that we each had come up with and we liked these two different parts. We didn't originally think that they would fit together since they are distinct from each other, but, after listening to them over time, we decided that they could be united to form a song of its own. There is an ebb and flow in the way we play "Untied"; it is very much a song that we need to just let guide us rather than trying to force it within technical or stylistic boundaries. This is one song that we actually just kept the first take of in the studio. EMAC's engineer Matt Grady said that it was the best thing that we played all day and he insisted on us keeping the first take even though Brian thought he might not have played it the "right" way. There was something about the way the parts just blended together that made it "feel right".

"My Friend" (the second track on "We are Still") also contains influences from a variety of styles, including hip hop and heavy rock. Brian experiments with a bunch of different guitar effects on this tune in order to produce the contrasting sounds that mirror its message of dis-connectivity. 

"Wicked Desires" is off our first full-length album, called "Obsessed by the Light." It has been a favourite among our listeners, so it has been a standard tune to play at our live shows. It has received the most airplay than any of our other songs, receiving charting positions on college radio and airplay on London, ON's FM 96. We recorded a video for "Wicked Desires" with London, ON's "Wreckless Crew Productions".

Sevens Undercover Block (15:57)

Originally called Scratch Band, the band formed in the late 1970s in Sacramento, California, by Michael Roe, keyboardist/guitarist Mark Tootle, bassist Jan Eric Volz, and drummer Mark Proctor. Guitarist Jimmy A and singer Sharon McCall also performed occasionally with the band, whose repertoire contained a number of songs penned by English poet and fellow Exit Records musician Steve Scott. Scratch Band changed its name to "The 77's" just prior to the release of their first album, Ping Pong Over the Abyss, in 1982. One song from that album, "Renaissance Man," was later recorded by The Ocean Blue. "It's So Sad," was later rerecorded, with a drastically different arrangement, by Roe's other band, the Lost Dogs for their album MUTT. The title comes from Allen Ginsberg's poem "Howl," section 3: "I'm with you in Rockland/where you scream in a straight jacket that you're losing the game of the actual ping pong of the abyss."

Proctor left the band and was replaced by former Temptations/Romeo Void drummer Aaron Smith, who first appeared on All Fall Down and remained with the band until the mid-90s. After considerable success on Exit/A&M, The 77's soon found themselves signed to Island Records (which, like A&M would be bought by PolyGram in 1989) and on the road to what Mike Roe would refer facetiously as "teenage stardom." Their 1987 self-titled release was reviewed favorably by Rolling Stone magazine and produced "The Lust, the Flesh, the Eyes & the Pride of Life," the band's biggest single to date. "The Lust..." ended up being much more influential than the band originally thought. A decade-and-a-half later, the rock band 311's hit single "I'll Be Here Awhile" "borrowed" several lines from "The Lust..." (i.e., "And if a person, place, or thing can deliver / I will quiver with delight"). Ironically, "The Lust..." itself borrowed musically from Barry McGuire's song "Eve of Destruction".

Unfortunately for The 77's, label mates U2 found a great deal of success with their Joshua Tree album, thus distracting Island Records' attention from promoting what many fans consider The 77's'= best album of their career. On 13 March 1988, The 77's performed with The Alarm and House of Freaks at the Fillmore Auditorium in San Francisco, California, entertaining patrons such as Neil Young. Despite riding a wave of popularity with the critics, Tootle and Volz left the band later that same year. While the band reformed in the early 90s with the addition of former Strawmen members David Leonhardt (guitar) and Mark Harmon (bass), the live album 88 and Sticks and Stones, a collection of previously unreleased recordings and demos, were released. One song from Sticks and Stones ("MT") was later covered by Zoppi (featuring future 77's drummer Bruce Spencer) and was featured a number of times on the popular FOX television series "Beverly Hills, 90210".

This new version of the band released a pair of albums for: 1992's The Seventy Sevens (known by the band and fans as Pray Naked) and 1994's critically acclaimed Drowning with Land in Sight. Leonhardt and Smith would leave the band soon afterward. Drummer Bruce Spencer was brought on board to fill Smith's vacancy. Roe chose not to replace Leonhardt, preferring to record and perform as a power trio; however, multi-instrumentalist Scott Reams was occasionally brought in to enhance the band's sound during their live performances. By the end of the 1990s, The 77's formed its own record label, Fools of the World, and re-issued several of its older albums. The 77's continue to record and tour

This block features some unusual instances where The 77's serve as an ad hoc backing band for some of their friends:

Bride Song - Dead Artist's Syndrome (1995/Happy Hour)

The group consists of singer-songwriter Brian Healy and a rotating cast of side men. The name of D.A.S. according to Healy is "Dead Artist Syndrome means greater in death than in life, be it James Dean, Van Gogh or Jesus Christ". His debut album Prints of Darkness was a notable, groundbreaking release. After several years of inactivity in the late 1990s due to health issues, Healy is active again, having released two albums so far in the 2000s. In 2006, Dead Artist Syndrome was named "Outstanding Orange County Band" by the editors and readers of Rock City News, a Los Angeles local music paper. For several years Healy was privately in poor health his gallbladder exploded while recording vocals resulting in emergency surgery, and a neurological disorder his wife Marie Tullai Healy described as "a combination of Michael J. Fox and the late Foster Brooks everybody thought he was drunk, Brian was falling down he broke his arm, slurring his speech trying to complete his record, next thing we know he's in a wheelchair, finally in 2012 they discovered the cause and he had brain surgery and is 100% back to his old self and had no idea any of this was going on, inside his head everything was fine". Healy himself has said on his Facebook page 'He's back" and is actively recording, producing others and hosting Frontline Records Rewind Broadcast and podcast.

Dead Artist Syndrome has included members of Undercover, The Choir, L.S.U., The 77's, and Ping backing Healy.

Brian Healy's activities extend outside of the realm of music into film and acting. On a number of occasions Healy was a stand-in double for actor John Candy; including such notable films as Spaceballs, The Great Outdoors, and Planes, Trains, and Automobiles. Healy also appeared on several TV shows and national commercials. The influences of Brian Healy's acting career can be seen in the dramatic aspects of his musical stage performances.

Brian Healy is also consider a leading expert in radio and music programming in 2008 he was awarded Rock City News Best DJ honors for his vast knowledge formatting various clubs and radio stations worldwide.


Personal Jesus – Jo Alexander (2017/Single)

Jo sponsored the top package on the Kickstarter campaign for Michael Roe's Guadalupe project and this was the song he got to record with the guys.

The song was inspired by the book Elvis and Me by Priscilla Presley. According to songwriter Martin Gore:

It's a song about being a Jesus for somebody else, someone to give you hope and care. It's about how Elvis Presley was her man and her mentor and how often that happens in love relationships; how everybody's heart is like a god in some way, and that's not a very balanced view of someone, is it?

In 2004, "Personal Jesus" was ranked No. 368 in Rolling Stone Magazine's list of "The 500 Greatest Songs of All Time", and in September 2006 it was voted as one of the "100 Greatest Songs Ever" in Q magazine.

"Personal Jesus" was re-released as a single on 30 May 2011 for the new Depeche Mode remix album Remixes 2: 81–11, with the leading remix by the production team Stargate.

Since its release, the song has been covered by numerous artists including Gravity Kills, Marilyn Manson, Sammy Hagar, Jerry Williams, Lollipop Lust Kill, Nina Hagen, Richard Cheese, Johnny Cash, and Mindless Self Indulgence.


Jesus Drove A Cadillac – The 77's with Sean Patrick Doty (2015/20 Years Gone)

{Also available on “unVeiled” (2015) by Sean Doty & The 77's}

Former Veil of Ashes vocalist Sean Doty fronting The 77’s as a powerhouse backing band: What could possibly go wrong?

Well, musically, not much. But logistically it turned out to be a non-starter. Originally released a few years back under the nondescript, tongue-in-cheek project name “unVeiled” (get it?), the album has now been made available again through CD Baby. With the title reshuffled as unVeiled presented by Sean Doty and The 77’s, the project and the listener may finally find each other on common ground.

If you are, at this point, confused by how this could even be possible, it is important to remind people that in various configurations of Dead Artist Syndrome, it was The Sevens backing up Brian Healy (bringing to mind specifically the untouchable “Young, Sexy and Dead” from Happy Hour), and lead guitarist/vocalist Mike Roe spent many years as an offshoot of his band as 7&7iS, backed with members of Bourgeois Tagg and Charlie Peacock’s bands. This is not an unprecedented occurrence.

UnVeiled is a good match for the two parties involved. Doty fits right in with the “roll the tape and play the song” ethic, with clear and professional production on hand, but without a fusillade of overdubs bogging things down. A canny mix of covers and originals, unVeiled offers up a blend of southern influence (a honky-tonkin’ “Jesus Drove A Cadillac”), slightly dirge-y blues (“Forgive Me”), a bit of punky energy (“My Town”), a dash of controversy (The Rolling Stones’ “Sympathy For The Devil”).

The opening tune, strangely, sounds like neither of the two component parts. Covering Barry McGuire’s deathless protest song “Eve Of Destruction” Doty lets forth with a raspy growl, and The Sevens rip with a Byrds-ian flair. The combo reminded me a lot of some of the solo work Mike Scott released away from The Waterboys. That’s not a negative thing to say about anyone.

Finally available with everyone able to take their bows, unVeiled by Sean Doty and The 77’s is a release any fan of either artist shouldn’t be without.