I had an intuition today, just wondered what happened to Goodwrench and his radio show at a local college radio station — KFJC — here in the San Francisco Bay area? I used to listen to his programs nearly every Friday evening between 1994 and 1999, and then the show ended. And what a show it was, he played Detroit techno, the latest/greatest, Autechre, Mouse on Mars, early day trance and progressive house, and anything interesting electronic-music wise.
I still have boxes of cassette tapes recorded from those sessions I think under my bed or somewhere in the house.
Anyway, just for fun I went to the www.kfjc.org web site and found to my astounding surprise that he’s back, since summer 2006. His new show is on Saturday nights, midnight to 3am. But that’s fine, I could use WireTap Pro or something similar to pre-record it, as this radio show is now also broadcast:ed over web, see this link, and it should also show up in iTunes Radio, Eclectic subsection. KFJC is a really wacko radio station in case you are interested in alternate music. But I look forward to listening to Goodwrench, might even send him a couple of promo CDs this time. Here’s also a link to his latest track listings — seems to be an eclectic collection of old and new, indeed.
Follow-up. Ok, listened. It was fun! I never realized how much more interesting a program is if the MC talks about the background concerning various artists and labels. I think he also heard that he will do special programs about for example the Cologne techno movement, goodies!
I took the playlist and header over to eMusic to get samples of artists I’ve had not sampled yet: Atropa, really wicked Japanese glitch electro, Reinhard Voigt (good to hear someone could have fun with techno, i.e. Sex Mit M. Mayer), good techno, Pablo Bolivar’s Simulated Physics, Natural Frequency by Irresistible Force, and much more. This is another reason why I think a directed radio show with information about artists and music is good, and eMusic plus the artists now earned money by such radio show marketing.
Which leads to stupidity such as this, sometimes I wonder if RIAA and the big record labels *really want to make money*, or just want to keep their company BMWs.