CJSR Playlist 13

Here’s my 13th playlist on CJSR, from Monday 14 June!

1. Wolf Parade (Montreal) – “This Heart’s on Fire”
2. The Afghan Whigs (Cincinnati) – “Over and Over”
3. The Cat Empire (Melbourne) – “Steal the Light”
4. Clap Your Hands Say Yeah (Philadelphia) – “Impossible Request”
5. Corb Lund (Edmonton) – “Counterfeiters’ Blues”
6. Viet Cong (Calgary) – “Unconscious Melody”
7. Choir and Marching Band (Edmonton) – “Uglyful”
8. Me First and the Gimmie Gimmies (California) – “Karma Chameleon”
9. The Provincial Archive (Edmonton) – “Young and Bloodless”
10. Scenic Route to Alaska (Edmonton) – “Cold in the Winter”
11. Nick Cave & the Bad Seeds (Melbourne) – “There She Goes, my Beautiful World”
12. KazMega & Baggylean (Edmonton) – “Blue, Kind of”
13. Joey Ramones (NYC) – ‘Wonderful World”
14. Bob Mould (Minneapolis – St. Paul) – “Hey, Mr. Grey”
15. The Black Lips (Atlanta) – “Underneath the Rainbow”
16. Fleet Foxes (Seattle) – “Helplessness Blues”

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Corb Lund’s song on the playlist was from the new album recorded live off the floor at Sun studio.

So, the studio was the topic of the show’s “history lesson” showing why technological innovation was an important factor for the development of regional music communities. Below is the section from my MA thesis on Sun Studio (http://hdl.handle.net/10402/era.26016)

“During World War Two, Nazi propaganda efforts compelled German engineers to create more efficient ways to record sound. They developed a method by which sound was recorded on magnetic tape to replace the old process of etching into a disc made of aluminium (but commonly referred to as acetate) or wax. Until the 1950s, the geographic distribution of recording technology kept the music industry concentrated in traditional locations such as New York and Los Angeles.

Then, beginning most notably in Memphis, with Sam Phillips, the owner of the Memphis Recording Service and the record label Sun, independent companies started to produce and market regional sounds to the national and international market in the 1950s. By 1951, when Sam Phillips opened his recording studio, this process originally created for fascists brought democracy to the recording process. Due to reduced recording costs, and newfound accessibility in terms of portability and operation, independent recording studios opened all across America. Independent labels soon followed; they were able to record, produce and nationally distribute music styles that had germinated outside of major music centers. The careers of Johnny Cash, Jerry Lee Lewis, Roy Orbison, and, most famously, Elvis Presley started in the Sun Studios. Technology enabled the driven and savvy to carry out what would be referred to as DIY, or the Do-It-Yourself ethic. Acting independently of the mainstream music industry meant musicians no longer had to leave regional hubs like Seattle, as Ray Charles did, in order to begin their recording careers.”

Sun Studio

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