All That Was
Available on LP at: https://elasticstage.com/throttlebodymc/releases/all-that-was-album Since 1990, Throttle Body M/C has been pushing sonic boundaries, whether through the straight-up rock-n-roll of AIDS and Language, For The Few and Marley’s Chain (the last two compiled in the digital collection, Hits 1992-1994 (The Greatest Band That Never Was (But Still Is) Part I), the pop explosions of Air Canada and A Typical Wednesday, the experimental, downtempo-influenced Nine or the unlikely Lonely Days (The Ukulele Album), and Super Hits of the 70s, great songs and inspired performances have always been foremost. Green Monkey Records has always had a weak spot for guitars, distortion, and feedback, and you’ll hear a lot of it on All That Was —the ninth release, and sixth studio album from Throttle Body M/C. The long-time Seattle-now-Toronto-based collective, led by multi-instrumentalist, producer/engineer Jerry Hammack takes a somber look at the state of the world through the album’s eight songs, reflecting on love, loss, age and the relationships that bind us. The sound is a heavy, textural blend of electric guitars, bass, drums and percussion with distortion and feedback playing a central role. Long, hypnotic opening grooves set the stage for this look at the times we live in. When there’s something to say, it’s brief and succinct, as in the opening track, “Goodbye” If it all ended now After years and years Would that make things right? Would you shed a tear? If it stopped to be you and me And the world stopped spinning Whether in the dream of “Lost to Me” or in the question of “When To Set To Sea,” Hammack pulls no punches as the personal is political and the price we pay is a high one. Songs like the title track, “All That Was,” explore life’s suffering, while “Leaving It All Behind” speaks to the loss of identity through the act of emigration. These are certainly hard times, and rather than a balm for them, Throttle Body M/C faces the world as it is and invites you to as well. Heavy, melodic, hypnotic and meaningful, this is “Album Oriented Rock” in its natural form. Spend some time with it and ask yourself what these days mean to you.
- Goodbye
- Lost To Me
- All That Was
- Everyday Mysteries
- Leaving It All Behind
- When To Set To Sea
- Speak Up
- Never So Far Away
All songs by Jerry Hammack
Copyright 2026 Really Real Music, BMI
Produced, engineered, mixed and mastered by Jerry Hammack at Flatiron Studios, Toronto, Ontario, Canada between April and December 2025
Recorded and mastered with AVID Pro Tools via SSL 2+ audio interface
All performances and programming by Jerry Hammack
Instruments – Fender Stratocaster, Epiphone Casino, Ibanez Performer, Guild True American, Trail Riot HH Telecaster, Schecter 004, Spitfire Mrs. Mills piano, Arturia Piano, XLN Audio Addictive Drums, Latin Percussion Cyclops tambourine, Meinl Session maracas
Amplification – IK Multimedia Amplitube 5, Blue Cat AcouFiend
Microphones – Townsend Labs, Inc. L22 modeling microphone
Super Hits Of The ’70s
Break out the platform shoes and polyester suits, and pour the world a Brandy Alexander for the release of Super Hits Of The ’70s —the fifth studio album from Throttle Body M/C. New members of the Green Monkey family, the long-time Seattle-now-Toronto-based collective is led by multi-instrumentalist, producer/engineer Jerry Hammack. Founded in 1991, Throttle Body M/C incorporates a revolving line-up of musicians that has included Zoro (Lenny Kravitz, Vanessa Paradis, New Edition, Bobby Brown), Osama Afifi (Yanni, Vanessa Paradis), Stephen Dorocke (Handsome Family) and others. This time around, Jerry is joined by GMR guitar monster Rod Moody (The Fuzz, Swedish Finnish, Swallow, Spike), Aaron ‘Coleslaw’ Taylor (Radio Nationals, The Squirrels, Survey Cez’) as he explores the pop, rock and soul sounds of early 1970s AM radio. “I have always loved that era of popular music,” Jerry states. “There was so much variety and richness in the Top 40 hits of coming across my radio and I thought it would be a fun to make an album that sounded like it belonged to that magical time.” And from the first moments you’ve dialed into KJR in Seattle on a cool fall evening, you are transported with a feeling of déjà vu that you can’t quite put your finger on. In the spring of 2020, Jerry wrote a series of nine songs Inspired by hits from artists like Gordon Lightfoot, Three Dog Night, Lou Reed, Stevie Wonder, Roberta Flack, Billy Paul, Bill Withers and Elton John and set to recording them in his Toronto studio with the help of Moody and Taylor (their collaborations coordinated from the Pacific Northwest through the magic of the Internet). To dial in the sound of the era, he limited himself to the musical palettes of his inspirations. ‘If the original track had two acoustic guitars, one electric, organ, bass, drums, a lead vocal and two backing vocalists, that’s all I used.’ In one instance (“Blue Velvet”), the song called for a full symphony orchestra and a horn section—so he used of those too! Jerry also researched the studios where the original recordings were made, recreating them in multiple virtual classic studios that included London’s EMI, Olympic, and Trident and The Record Plant in New York. While not slavish, the recordings also stuck to the limitations of the era, with just a handful of processing and sweetening tools applied to the tracks. ‘It was a challenge and a lot of fun to recreate those classic studios in my DAW and then record and mix the songs in them.’ Taken together, the songs are an homage to a wonderful variety of pop, rock and soul, but rather than giving you a clone of days gone by, he brings something familiar and completely new at the same time. Jerry sent this heady mix to GMR and we said oh hell yeah. Jerry is also author of the massive Beatles Recording Reference Manuals and a generally productive sort of fellow.
- Station ID
- Guessing Game
- Till It All Goes Wrong
- Dig If You Will
- Superdistance
- The First Time
- Blue Velvet
- Secret Heart
- Wait and See
- Itasca
- Tuneout