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Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday – Noon EST with an encore broadcast at Midnight EST. Did you slide into Good Trip Peru, Volume I earlier this month? If not, do it. Sam Huff guests today during the second hour discussing the music.

SIRIUS 485: Jean-Michel Bernard – Générique Stéphane ++ Los Holys – Cissy Strut ++ The Mad’s – Aouh Ahouh ++ Bobby Moore & The Rhythm Aces – Groovin’ With The Aces ++ Bembeya Jazz National – Petit Sekou ++ T.Y. Boys – Lekopokopo Single Moqashoa ++ Joy Landis – Angel (Of The Morning) ++ Juaneco Y Su Combo – Mujer Hilandera ++ Los Shapis – Ya No Vuelvas ++ Los Jaivas – Frescura Antigua ++ Inka Quenas – Vasija De Barro ++ Los Pakines – Eternamente ++ Los Wanker’s – Caranito ++ Enrique Delgado Y Su Conjunto – Alma Herida ++ Grupo Musical Kaluyo – Poco A Poco ++ Los Muky’s – Interesada ++ Los Diablos Rojos – Linda Cerrenita ++ Los Ases De Huarochiri – El Pescadito ++ Los Ecos – Gloria ++ Grupo Genesis – Corazon, Corazon ++ Los Destellos – La Fatidica ++ Conjunto Fiesta Andina – Potpurri De Huaynos ++ Selection Colquemarca – Dulce Serenata ++ Chacalon Y La Nueva Crema – Lejos De Tu Amor ++ Los Mirlos – El Milagro Verde ++ Enrique Y Su Orchestra – La Botella ++ Sonido 2,000 – San Juan En La Selva ++ Los Walker’s – Pollerita ++ El Embajador Ancashino Y Su Conjunto – Amor Recuayino ++ Grupo Alegria – Amenaza De Mujer ++ Los Hermanos Serrano – Taparacucha ++ Grupo Fantasia – Parrands Tropical

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.
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Welcome to Aquarium Drunkard’s Transmissions podcast, a recurring series of conversations with songwriters, authors, and creators about what drives their art. For this episode, AD’s Jason P. Woodbury sat down with Timothy Showalter of Indiana’s Strand of Oaks to discuss the band’s latest album, Hard Love, which melds Showalter’s love of dub reggae production with heartland rock and the big beat sound of Creation Records’ heyday.

Back in February, Showalter put together a great installment of Aquarium Drunkard’s Lagniappe Sessions, where he covered Primal Scream, the Stone Roses, and Phish; tellingly, the influence of such artists came up in this talk, which was recorded live in the green room of the Valley Bar in Phoenix, Arizona.

Transmissions Podcast :: Strand of Oaks

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The Letter People. Those three words either mean something to you…or they don’t. If they do, you most likely have a fuzzy half-remembrance of the vinyl / 8-track set or the accompanying companion PBS children’s puppetry show. A sort of poor-man’s Muppets, these primitive creations were tasked with schooling the youth of the 70s/80s on the alphabet and its 26 accompanying sounds. Sounds boring, right? Actually, no, far from it.

Playing off contemporary sounds of the time (funk, country, r&b, top 40 pop, acid rock) each letter had its own character with its own, often bizarre, backstory (check out Tall Teeth).

Which brings us to Mr. S., the grooviest of consonants. First, that bassline – slow and low, I wore out the grooves on this one. A furtive tale of kid fears, one of being scared of the dark, Mr. S is a story of empowerment. In it, our narrator transforms from hiding under his bed sheets to slipping into his super-socks becoming “a super-sonic streak across the sky”… all thanks to his trusty super-socks. All this aided by the aforementioned bass line and blasts of brass straight out of Blood Sweat & Tears’ practice pad.

Additional letters weirdos: Mister C (sleazy lounge lizard named Cotton Candy — ALSO: Mr. S cameos playing a mean blues guitar solo)Mister H & his horrible hair / Mister T (country & western cowboy romp about his giant chompers) / Mister M (funk jammer about guy likes who likes to eat)

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As anyone who tuned into the Aquarium Drunkard Show on Sirius/XMU last Friday is well aware, Endless Boogie’s Paul Major knows private press. A longtime record dealer, his catalogs, including Feel the Music and Sound Effects, helped establish much of the vocabulary associated with rare psych, folk, rock, and outsider records. Now, working with Anthology Editions, he’s compiled the book on the stuff: Feel the Music: The Psychedelic Worlds of Paul Major.

In addition to scans of the rare original catalogs, which featured Major’s hallucinatory, illustrative music writing, the new book gathers essays by friends and compatriots Johan Kugelberg, Glenn Terry, Michael P. Daley, Stefan Kery, Patrick Lundborg (The Acid Archives) and more, all of which help illuminate not only the music that has defined Major, but also his unique character and ethos.

“It’s this crazy full circle vibe,” Major says. “Before I started playing music, I wanted to be a writer and a journalist. So that’s what I got my degree in…I got sidetracked by music and finally a book comes out [featuring] all that crazy writing I did for the catalogs back in the day.”

Endless Boogie :: Vibe Killer

While Major’s deep knowledge sets him in a league of his own among record aficionados, it’s his enthusiasm and dedication that truly define his work. 20 years ago, he formed Endless Boogie, and the long-running rock band is still choogling along. On Boogie’s new lp, Vibe Killer, Major sounds ever at home along the cyclical riffs and bone-grinding  fuzz, his voice ragged and sneering. “We have probably rehearsed ten times since 2013, but it just doesn’t matter, the Boogie never stops,” writes his Boogie bandmate Jesper Eklow in Feel the Music. “I mean, it should be stopped, but it can’t be.”

Likewise, when Major speaks, you get the sense you could spend hours listening to him, his conversation style free flowing and punctuated by belly laughs. He’s still jonesing for new tunes and far out sounds. The book, the new record — it all feels like part of some cosmic, unplanned event he’s just happy to have shown up for.

“The universe kind of all came around,” Major says. “I’ve got some kind of harmony that I don’t understand.”

Aquarium Drunkard: You write in the intro of the book that there was some “magic power in the actual physical object that enhanced the experience.” Early on, that’s what hooked you. After all these years, do you still feel that way?

Paul Major: Oh yeah, I do. I think the thing that’s changed is my need to own them or not. [Laughs] I used to have to have them all. That changed. Records became a currency for me to survive, my way of making money. But I still get the thrill when there’ll be something I never saw, one of these legendary records. I get a charge of the actual artifact. “This is the actual thing that exists, the historic object.” But I can just listen to the music now — I don’t have to have an original pressing. I guess I burned out on that after decades of doing the catalog. But oh, I love when I see one of those records. A lot of them are 40 or 50 years old now. That’s another head twister, that these early psychedelic records are half a century old now.

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It’s heating up out there. The seventh installment of the Bomboclat! series is in the works — look for it in two weeks. Until then, let the following choice selections from volumes 1-6 simmer . . .

Download: Bomboclat! Island Soak / Volumes 1-6 Retrospective (zipped folder)

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Lagniappe (la·gniappe) noun ˈlan-ˌyap,’ – 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

Best known as the leader of the Texas cum Oakland psych outfit The Gris Gris, Greg Ashley has been gracing the pages of AD since its 2005 inception — the year he released Medicine Fuck Dream, a record we likened to “swimming through a pool of hot jello…slow, heavy, fuzzy, druggy, dense and sticky sweet.” Still apt today. Ashley’s new album Pictures of Saint Paul Street, out June 30th on Trouble In Mind Records, marries his influences into one giant middle finger to the jerks of humanity — resulting in one of the most raw and honest albums of the year.

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From the casually curious to the autodidact, the information imparted by the voluminous youtube can be (at its very best) transformative / enlightening — nitpicky criticisms aside, of course. Which brings us to the two documentaries featured below; one on the American composer, theorist, philosopher and artist John Cage, and the other concerning itself with the classical avant-garde movement as a whole.

As documentaries go, the two work well in tandem. In The Ocean focuses on composers Philip Glass, John Cage, Steve Reich, Elliott Carter and their contemporaries as it examines and unpacks various motivations and influences. And as this in the Internet, the comments section is well worth perusing for infighting concerning everything from opinions on sound object music, the filmmakers (audacious!) inclusion of Frank Zappa, post-modernism and more. Bring some popcorn.