The Mighty Sparrow :: Fyaah & Fury

There's a wannabe dictator in the Oval Office and answers don't seem to be blowing in the wind. The dearth of the protest song is astonishing. Perhaps overwhelmed like the rest of us, perhaps needing more time to be inspired to sing about what many find so dispiriting, artists have, by and large, yet to directly address the Orange One in their music.

Into the void steps one of the greatest musical titans of all-time, a living legend and one of the greatest lyricists of any genre. The Mighty Sparrow is one of, if not the, greatest calypsonians - a master with outsize influence on the genre of calypso as a whole and a favorite of people like Bob Dylan, who himself didn't end up finding any answers in the '60s, or beyond.

Sparrow was always political. His career began, in earnest, with "Jean & Diana (Yankee's Gone),” a song addressing the withdrawal of U.S. service members from his native Trinidad & Tobago over a decade after the end of the World War II. He championed the future-father of Trinidadian independence, Dr. Eric Williams (1957's "William the Conqueror") - and then blasted him the same year for the rising cost of goods ("No Doctor No"). He tackled the failed Caribbean Federation ("Federation [We Are One]"), where he upbraided Jamaica's leaders for their jealousy at Port-of-Spain's designation as capital. He commented on police-officer pay, on the lease given to the U.S. for a (new) military base - on the many topics that confronted a nation struggling for independence. This was all before 1960, before he'd even been on the scene for five years.

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North Americans :: Going Steady

In the video for guitarist Patrick McDermott's "Alice Lake," the striped-and-starred frog that appears on the cover of North Americans' Going Steady makes his way into reality. Swaying in meditative motion, lounging among rubble, and eventually loosening gravity's grip altogether, the frog serves a mascot or representation of the feeling McDermott's music provides. Over the course of the nine songs that comprise Going Steady, McDermott's acoustic guitar and synth offer zones for silent contemplation, comfort, and weightlessness. Joined by contributors Hayden Pedigo, Julianna Barwick, Meg Duffy, Dylan Baldi, and Joel Williams, McDermott creates a space where contemplative music and guitar soli dovetail. You could even call it new age if you wanted —something about the gentleness on display here makes me feel like McDermott wouldn't mind, but the sound of North Americans rewards active listening just as much as it does zoning out. Like director Rocco Rivetti's video for "Alice Lake," the lp is an exercise in "augmented reality." In this space, there's time to pause, to notice beauty, and to take stock. North Americans' celebrates the release of Going Steady Tuesday, November 6, at Gold Diggers. words/j woodbury

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Bitter Funeral Beer Band :: Live in Stockholm, 1984

In anticipation of the second installment in our Guide to ECM Records, we share a live performance by one of our favorites from the catalog. Bitter Funeral Beer Band. Led by percussionist, ethnomusicologist, and frequent Don Cherry collaborator Bengt Benger, the group performs an extended medley of “Darafo / Funeral Dance / Bitter Funeral Beer.” The performance captures the ensemble at the height of . . .

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Eric Dolphy: The Expanded 1963 New York Studio Sessions

Eric Dolphy enthusiasts take note. November 23rd sees the release of Musical Prophet: The Expanded 1963 New York Studio Sessions, via Resonance Records. Spread over three discs, the set includes both the Conversations and Iron Man studio albums, along with 85-minutes of previously unreleased studio recordings. Saluting Resonance's ten year anniversary, we caught up with label founder George Klabin. Below, he walks us through some of the stories behind a decade of stellar releases, including several Klabin personally recorded in the 1960s while a student at Columbia University in New York. We begin with how the forthcoming Dolphy project came to fruition...

Eric Dolphy: Musical Prophet: The Expanded 1963 New York Studio Sessions

The intriguing component of this story is that the tapes that make up Musical Prophet are from the personal belongings of Eric Dolphy, which he left in a suitcase and handed off to his close friends Juanita and Hale Smith before he embarked on his fateful European tour in 1964 (he died while on tour and the young age of 36 years old). The jazz detective, Zev Feldman, found out about these recordings while attending the Monterey Jazz Festival in 2014, and shortly thereafter he connected with flutist/educator James Newton, who was given possession of the tapes by the Smiths a few decades ago and became a co-producer with Zev on this highly-anticipated release. Musical Prophet boasts a 100-page book full of rare and previously unpublished photos, plus a plethora of essays, interviews and quotes about Eric Dolphy from those who are passionate about his music and consider him an inspiration.

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SIRIUS/XMU :: Aquarium Drunkard Show (Halloween Edition)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard live dead every Wednesday night at 7pm PST with encore broadcasts on-demand via the SIRIUS/XM app. Happy Halloween...

The Aquarium Drunkard Show: The Halloween Edition

SIRIUS 542: Aquarium Drunkard Halloween Intro 2018 ++ Eartha Kitt – I Want To Be Evil (AD Halloween Version) ++ The Munsters – Munster Creep ++ Bob McFadden & Dor – The Mummy ++ Danny Ware – The Zombie Stomp ++ The Sound Offs . . .

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Transmissions Podcast :: Kurt Vile / ECM Records / James Booker

Happy Halloween and welcome to the October edition of the Transmissions podcast. Hope you enjoyed our bonus podcast episode, featuring AD's Halloween mix. If you haven’t heard it, check your feed or MixCloud. It’s essential listening. Our topics today aren’t quite as spooky, but they’re good nonetheless. First, Kurt Vile. Earlier this month he released his seventh lp, the beatific Bottle It In via Matador Records. He swung by the AD HQ to sit down with Justin and discuss the new record, recording with Dean Ween of Ween, the influence of Sonic Youth, working with Kim Gordon, and how collaborating with his “sister” Courtney Barnett helped shape the new album. The edited version of our talk is up now, but here's the full spiel, uncut and undiluted. Then, we’re dive into the ECM Records vaults to discuss the first installment of the AD guide to the long-running jazz, classical, and experimental music label. And finally, we sit down with Aquarium Drunkard contributor Jay Steele of General General to discuss his label and Vinyl Me Please’s recent reissue of New Orleans pianist James Booker’s Lost Paramount Tapes.

Transmissions Podcast :: Kurt Vile/ECM Records/James Booker: The Lost Paramount Tapes

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Akofa Akoussah / Sonafric Records

Via 1976, dig the smoldering and slow-burning nocturnal blues of Akofa Akoussah’s “I Tcho Tchass,” a humid noir groove that closes out her sole, self-titled, long player. Hailing from the West African nation of Togo, Akoussah blurred sounds, traditions, and styles from her neighboring Ghana, fusing psychedelic rock, soul, jazz, funk, and, here, a unique and unclassifiable downtempo diamond. A low-tempo voodoo vamp some might find seasonally appropriate.

Akofa Akoussah :: I Tcho Tchass

Her record soon sees reissue via Mr. Bongo. If this track is any indication, we’re in for yet another unearthed delight. With its late-night jazz club intro, Akoussah’s slow and soulful serenade, the guitar’s sweltering cool, and a propulsive ritualistic crescendo, “I Tcho Tchass” imbues the very magic of the region’s singular and holistic sounds.

Originally released on Sonafric Records – a short-but-well-lived Paris-based / Africa-focused label from the mid 70s / early 80s – Akoussah was one of many possessing near supernatural talent to have passed through the doors of this special enterprise. With that in mind, we thought we’d dig in on a sampling of the label’s catalog…

Ali Farka Toure :: Ali Farka Toure (1976, vinyl rip)

A singular legend in his own right, Ali Farka Toure’s first five records were released by Sonafric, finding the great alchemist of Malian blues having materialized fully formed; an artist whose transporting, hypnotic style was masterfully sculpted decades before he would find worldwide recognition with the likes of Ry Cooder and Toumani Diabaté.

Les Ambassadeurs du Motel de Bamako :: M'bouram Mousso

A big band approach, sporting something of a Malian all-star team, Les Ambassadeurs Du Motel De Bamako ease between laidback highlife jams and more psychedelic approaches – locking in and stretching out in breathless funk fusions of jazz organ solos and saxophone grooves. Dig the above ’76 B-side from the ensemble.

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Pedro the Lion :: Yellow Bike

There's a strange healing that comes from a long ride by yourself. Something about the sensation of continual forward movement, the openness of the road contributing to the openness of your head. Even when it gets lonely — and it does get lonely, it has to — there's a magic to it. Wherever you are, you're going there. That's what David Bazan is singing about in "Yellow Bike," the first single released from Pedro the Lion's forthcoming Phoenix. Out January 18 via Polyvinyl, it's the first Pedro the Lion record since 2004's short-stories-as-songs collection Achilles Heel. Though he hasn’t utilized the name since 2005's God Rest Ye Merry Gentlemen, David Bazan is Pedro the Lion, and as a result, Phoenix picks up the threads connecting his late ‘90s and early 2000s albums under the Pedro banner to the remarkable string of albums he’s recorded under his own name: difficult lessons learned by children, squandered inheritance, the messes of others, and the ones you make yourself. "Yellow Bike" is about motion, on a childhood bike or over highways carved across our nation, about the first steps one takes away from home. It's about how far life takes you from the places you’re from, and all the numerous ways you never really leave them. Inspired by Bazan's childhood in Arizona, "Yellow Bike" offers a beautiful meditation the need for interpersonal connection and a deep inner life, and about how the needs so often feel at odds. "Some folks are loners and you learn from them/If you've always been a joiner on the move again," Bazan sings, his words thematically tied to Sean Lane's drums. "But if you keep your legs pumping despite everything/Well you can take that sting, you can make it swing." Pedro the Lion is back, but "Yellow Bike" is a testament to how David Bazan never went away. words/j woodbury

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Meg Baird & Mary Lattimore :: Ghost Forests

A few years ago, singer-songwriter Meg Baird and harpist Mary Lattimore showed up at Three Lobed Records’ annual Hopscotch Festival day show for a gorgeously spectral collaborative set that left anyone either physically present or tuning in via the World Wide Web wanting more. Finally, the duo’s partnership has been made it to wax – and it was worth the wait. Ghost Forests

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Bob Dylan :: More Blood, More Tracks: The Bootleg Series Vol. 14

It’s a golden age for Dylan fanatics – and a gluttonous age as well. For the past few years, like clockwork, we’ve been gifted with massive boxed sets that unravel – and somehow deepen – the mystery and magic behind the songwriter’s storied career. Have any of us truly absorbed the 18 discs of 1965-1966 studio recordings that make up The Cutting Edge? Or the hours upon hours of fiery Dylan and the Hawks tapes found on The Live 1966 Recordings? Or the revelatory sounds of last year’s Trouble No More? Even the most die-hard Dylanologist among us may be feeling overwhelmed at this point (and I haven’t even mentioned the so-called “copyright dumps” of recent years). But these archival releases are still vital pieces of the Dylan puzzle – whether you get to them today, tomorrow or five years from now.

So: Have I managed to absorb the new (hilariously titled) More Blood, More Tracks: The Bootleg Series Vol. 14? Hell no. But I have listened to it and can share some impressions.

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David Crosby :: The Aquarium Drunkard Interview (2018)

Nearly five-and-a-half decades into his career, David Crosby might finally be hitting fourth gear. A new record, Here If You Listen, his second in collaboration with vocalists Michelle Willis and Becca Stevens, along with Mike League of Snarky Puppy, is sweeping and gorgeous. To hear Crosby tell it, and to hear the record, is to know that the pairing of musicians has been exhilarating to him. Catching up from his home in California, Crosby spoke about the formation of his latest venture and the freeing feeling it's given him.

Aquarium Drunkard: To start, can you tell us a bit about the band, how this project came to be. It seems like a unique grouping.

David Crosby: I can tell you how it happened. A friend of mine turned me onto Mike League’s group, Snarky Puppy, and I loved it. I thought that the writing, in particular, was really impressive. I got a hold of him, told him how much I really liked his music. He ended up being an all-around, incredible guy. He had produced with Becca Stevens and Michelle Willis, who are two of the most talented people I’ve ever met. I asked him to produce a record for me, and he said we should invite them to sing on it. And we did! And we had an unbelievably good chemistry. You learn to spot these things over the years, working as a musician, you look for it — but you don’t often find it. And when I worked with these people, it was just a natural, really good chemistry. So for this record, the next time around, I said I don’t want to do another David Crosby record, I want to do a group record — write it together, sing it together. And they asked, “Are you sure?” And I was absolutely sure. So we did it! We went into Michael’s studio, in Brooklyn, and we two songs: “Janet,” a song that Michelle had written, and we had “Your Own Ride” which I wrote with Bill Laurence, who is Snarky Puppy’s classically trained pianist, really, really good musician. We had those two songs and that’s it. We went into his studio and wrote the entire record in 8 days! We recorded it and mixed it in the rest of the month; in one month, we created, from scratch, a brand new record.

That’s a chemistry I’ve never seen the like of anywhere. I’ve never been able to write with four people, are you kidding? You’re lucky if you can write with one other person. Writing with four others is impossible! We did it — we wrote a whole record together and it’s really good. The most lasting impression I have is that I’m the luckiest guy you know. That’s the only thing I can figure: I’m just the luckiest son-of-a-bitch on the planet, cause this stuff just keeps happening to me.

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Tony Joe White :: 1943-2018

When news broke of Tony Joe White’s death, nearly all the obituaries led with some mention of his hit single “Polk Salad Annie.” Of course, that will likely remain his signature song, covered by everybody from Elvis to the blues band currently playing down the street. But still, White was, at his best, a lot more than just a one-hit wonder.

First on his Monument records, and later on his run at Warner Brothers, White’s music drips with energy. Horns pop out of the corners, the guitar tone bangs off the walls, and White sings he’s telling a short story. He usually was. “Roosevelt and Ira Lee” is about two guys who go looking for bullfrogs and step on a water moccasin; “A Night in the Life of A Swamp Fox” is a swaggering, slyly funny look at the touring life. But my favorite is “They Caught the Devil and Put Him in Jail in Eudora, Arkansas,” a fun spin on Faustian bargains, where White goes out to borrow some cornmeal and ends up trying to sneak a peek at Satan.

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Maston ‎:: Darkland (Sessions from ‘Tulips’)

Those of you who caught our 2017 Year In Review may remember the inclusion of Maston’s cinematic lp, Tulips -- a record we described as "a ‘70s film score on a hit of acid, Elmer Bernstein sweating through a bad trip only to arrive at an ecstatic come up." And then some.

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Aquarium Drunkard Presents :: ECM Listening Party

In anticipation of the second installment of our Guide to ECM Records, join the Aquarium Drunkard crew and our friends Zach Cowie and Third Place this Sunday, October 28th, in Los Angeles at hi-fi bar and cafe In Sheep's Clothing (710 E. 4th Place), from 4-10 PM. We'll be spinning records from the second forthcoming guide, which follows

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SIRIUS/XMU :: Aquarium Drunkard Show (7pm PST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard every Wednesday at 7pm PST with encore broadcasts on-demand via the SIRIUS/XM app. You can download the Aquarium Drunkard Mountain Man session, heard during hour two, HERE.

SIRIUS 541: The Astral Army – Interstellar Shortwave ++ Amon Düül II – Halluzination . . .

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