Tonight in Los Angeles: Talk Show / Aquarium Drunkard In Conversation With David Weinberg

Los Angeles: Tonight, Aquarium Drunkard presents TALK SHOW, an intimate series of conversations centered around the worlds of music, art, film and beyond. Our third guest in the series is David Weinberg, host of KCRW’s Welcome To LA, in conversation with Justin. 8pm. Records and revelry to follow.

Free and open to the public at Gold Diggers in East Hollywood. 5632 Santa Monica Blvd . . .

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Beverly Glenn-Copeland :: Keyboard Fantasies

In 1970, Canada via Philadelphia singer / songwriter Beverly Glenn-Copeland cut his first two records. One self-titled, the other just called Beverly Copeland, on both discs he creates an intense and intimate dialogue amongst backdrops of desolate blues, rambling folk, serpentine jazz, and luminescent classical rhapsodies. With a powerfully earnest and transfixing androgynous vocal spectrum, his three-octave range reaches through despairing lows, spirited outsider-pop affirmations, and soaring operatic dramas.

It was at the age of three that Beverly Glenn-Copeland announced he was a boy, a proclamation met with immediate dismissal by his parents. It wasn’t until sixteen years ago — at the age of 58 — that Glenn-Copeland fully transitioned into a man. His artistry was to endure. “I have always loved to be able to sing in a feminine way, in a sound that was very feminine, as well as a sound that was very masculine," Glenn-Copeland told the CBC last year. “And I refuse to give that up because otherwise, I can't completely express the total spectrum of emotion, from my perspective.”

Nonetheless, he seemingly wouldn’t record again for sixteen years. Instead, he wrote for Sesame Street. Appeared regularly on the Canadian children’s show Mr. Dressup. He infused love and positivity into the world, and in 1986, re-emerged with Keyboard Fantasies, a minimalist electronic masterpiece that finds Glenn-Copeland conquering a brave new world in an assuredly singular ambient expression.

Beverly Glenn-Copeland :: Sunset Village

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Various Artists :: Freedom of the Press

New label Kith & Kin comes storming out of the gate with a downright dazzling compilation of fresh cosmic American sounds, featuring stellar work from many of the scene's leading lights and upcoming talents. It's pretty safe to say that if you're a reader of this website, you're going to find a lot to like here.

Freedom of the Press  is . . .

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Bomboclat! Island Soak 8 :: Jamaican Vintage (A Mixtape)

It's July, which means it's time to check in with the third largest of the four Greater Antilles. Enter Bomboclat! Island Soak, Volume 8 - another batch of seasoned sides from the private collection of John Mascarenhas.

1) The Hamlins - Everyone Got To Be There
2) Larry Marshall - I've Got To Make It
3) The Classics - Stick Together
4) Gladstone Anderson - Rockers
5) The Overtakers - Girl You Ruff
6. The Jamaicans - Slow and Easy
7) Johnny Clarke - Jump Back
8) The Hamboys - Harder On The Rock
9) Horace Andy . . .

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The Lagniappe Sessions :: Sam Evian

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

Celestial Shore veteran Sam Owens returned last month via, You, Forever - his second lp under the nom de tune Sam Evian. Like his 2016 debut, the record is another slice of elegant 70s leaning rock and pop, as evidenced by his Lagniappe selections. Paying tribute to  circa '74 John Cale and Neil Young's "Unknown Legend", Evian's north American tour lifts off later this week at the Hammer Museum in Los Angeles. Owens in his own words, below.

Sam Evian :: You Know More Than I Know (John Cale)

I love songs that feel like circles. This song just keeps going. It probably has too many verses, but who cares. The first time I hung out with my partner Hannah, we drove around NYC listening to Fear, John Cale’s fourth solo record. I was pretty taken with her. So a week later I had a late night in the studio with some friends, and I convinced them to play through this tune. I’ve lost the multitrack to this recording. All I have is this stereo bounce that I made late late that night.

Sam Evian :: Unknown Legend (Neil Young)

Hannah and I learned this tune on our road trip across the country last Fall. We had Neil’s tape in the car, and we put it in right as we were coming down into this long flat desert valley. There was a big dust cloud in the distance. As "Unknown Legend" came in to its second chorus, we realized the dust was being kicked up by a handful of cowboys, herding a few hundred cattle through the desert. They were the first people we had seen for at least a hundred miles.

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Jerry Rubin :: From Yippie to Yuppie

As we approach the 50th anniversary of the 1968 Chicago Democratic convention, where hippies, Black Panthers, the MC5, and many others clashed spectacularly with The Man, few figures seem more worthy of reexamination than Jerry Rubin. Along with his compatriot Abbie Hoffman, Rubin helped articulate the voice of young America, employing vibrant and often satirical approaches that utilized performance art and provocation. The inside story of this counter-culture icon, anti-war activist, and all-around troublemaker comes to life in Pat Thomas' Did It! From Yippie to Yuppie, which traces Rubin's journey from high school journalist to stoned political freak and beyond. Speaking with 75 of Jerry’s closest peers, many of whom have never spoken openly about their experiences until now, Thomas creates a compelling, detailed narrative. It's history, but a wild adventure too.

Thomas, a member of the psychedelic collection Mushroom and author of essential collections like Listen, Whitey! The Sounds of Black Power 1967-1974 and Invitation to Openness: The Jazz & Soul Photography of Les McCann, walked us through  assembling this intense look at Rubin's life.

Aquarium Drunkard: What attracted you to Jerry Rubin's story? He was a household name, yet Abbie Hoffman became more well known. Why not Rubin?

Pat Thomas: Over the past 30 years, there have been about six different books about Abbie Hoffman, [but] there’s never been one about Jerry Rubin until now. That’s like saying there have been six John Lennon biographies published, but nobody has ever done a McCartney book. During the 1960s, Jerry & Abbie were joined at the hip, the co-leaders of the Yippies (Youth International Party), both equally pissing off Republicans, squares, and people who loved that America was killing people in Vietnam.

AD: How did you gain access to Jerry's archives?

Pat Thomas: I won the respect of Rubin’s family when they saw my first book Listen, Whitey! The Sounds of Black Power 1965-1975, coupled with the fact that nobody else had ever expressed serious interest in digging through the thousands of photos, documents, letters, journals, and newspaper clippings spanning from the 1950s until his death in the early 1990s. Jerry kept letters from Yoko Ono, [members of the] Weather Underground, Eldridge Cleaver, Abbie Hoffman, Norman Mailer, and more. His own writings were also essential, since I couldn’t interview him. He wrote notes to himself all the time that I could reference.

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Lafayette Afro Rock Band :: Soul Makossa

To become one of the best American funk bands of the 1970s, the Lafayette Afro Rock Band had to leave the country. After forming on Long Island in 1970, the group surveyed the landscape: Funkadelic had released their self-titled debut and would soon drop Maggot Brain; Sly Stone was a year removed from Stand! and was prepping There’s a Riot Goin’ On; Curtis was in the world; James Brown was Soul Brother No. 1. Funk was proving that its pliability went beyond its grooves: free your mind, and you know the rest.

So their asses followed to Paris, where a strong African immigrant community thrived in Barbî¨s, a hard neighborhood adjacent to Montmartre in the north of the city. There, the group encountered concepts of percussion they’d never seen in the U.S., and by the time of 1974’s Soul Makossa, they’d learned to weave their flinty funk around the rhythms of their new neighborhood.

Unlike most hybridizations, it’s not terribly difficult to find the seams joining the Lafayette Afro Rock Band’s major influences. On the title track, a cover of Manu Dibango’s 1972 hit, drummer Donny Donable hammers away at his high-hats, almost holding the song still while percussionists Keno Speller and Arthur Young spin around him in circles. The horns, though, come together with a kind of bright uniformity so clean that it seems impossible they’re working in tandem with the clattering drums. You can practically point at the parts here and label their origin. Hand drums: West Africa. Stacked brass: East Bay.

They expand the idea on “Azeta,” whose horn lines are so shiny and clear they may as well be a recording of the USC Trojan Marching Band. If the influence of the Family Stone is evident in Michael McEwan’s guitar in “Oglenon,” the marathon drumming that underpins and eventually overtakes it pulls the song away from Woodstock and into The Shrine.

  Lafayette Afro Rock Band :: Hihache

But it’s the opening bars of “Hihache” that would cement their legacy. They’re not complicated. Donable plays a simple pattern by himself. The way he swings the kick drum and the languid pace make it sound like the song is stumbling forward and recovering every few beats. With that high-hat, snare, kick combo, Donable has played several hundred songs at once. The “Hihache” intro is one of the most sampled cuts of all time, having been used by everyone from Biz Markie and Ice Cube to Flying Lotus (twice!) and ’N Sync, who used it to propel their megahit “Tearing Up My Heart.” It backs A Tribe Called Quest’s “Check the Rhime” and Wu Tang Clan’s “Wu Tang Clan Ain’t Nuthin’ ta Fuck Wit.” Even Chris Rock used it to score a hit in “No Sex in the Champagne Room.” It’s the kind of beat that’s so iconic it seems originless, completely devoid of context; when bassist Lafayette Hudson begins to knock along and McEwan enters with a wisp of feedback, it’s hard not to think of the music they’re making as nothing more than the first in a long line of ideas to wrap themselves around the beat.

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Catching Up With :: Phil Cook

Wherever he ends up musically, from his work with Hiss Golden Messenger to sitting down with gospel legends the  Blind Boys of Alabama, guitarist Phil Cook seems to be smiling. But it's on his solo albums, including 2011's Hungry Mother Blues and 2015's Southland Mission, that he seems most jubilant. That's doubly true of his latest recording, People Are My Drug. If our present moment feels like a strange one for rollicking party music, well, that's the point. On the lp, Cook doesn't avoid reality –the standout cut, "Another Mother's Son," centers its gaze on police brutality against black people –but the Durham-based singer/songwriter clearly views his mission as a celebratory one, recognizing that the work required right now is good work to do. He's here to share the kind of joy that transforms, to bask in it, and he invites the listener in.

Cook's sound draws freely from America's vast musical traditions, incorporating country, soul, folk, gospel, and the blues, but it's his personal spirit always shines through. Singing songs like Randy Newman's "He Gives Us All His Love" or the Allen Toussaint-via-James Booker jam "Life," Cook inhabits the grooves. He's chiefly an enthusiast, and on People Are My Drug, he indulges in messy, abundant humanity. We caught up with Cook while on tour with Hiss and dove into the heady space the album occupies.

People Are My Drug by Phil Cook

Aquarium Drunkard: I think just about everyone I know considers the times we live in precarious. But People Are My Drug just radiates joy. How do you tap into that feeling in a time when it's difficult for a lot of people to get to that place? Is it a struggle for you to get there yourself?

Phil Cook: I think it should be a struggle for anyone to clarify where they stand...We're living in times when you really need to sort out how you feel about certain things.  [You have to pay] attention to your gut; pay attention to the news; pay attention to your body and how it's receiving all these things. A natural response to all of the last year has been anxiety. Fear, depression, despair. Generations go through these cycles, [times] where power threatens to destroy the things you hold dear. To destroy your perception of reality, your understanding of how society works.

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Etuk Ubong :: Black Debtors

Etuk Ubong was born and raised in Lagos, but you don’t need me to tell you that; “Black Debtors,” his latest single, is built on a truncated rhythm so thick it feels like Fela Kuti’s “Open and Close” groove folded over on itself four or five times – a rhythmic orientation Ubong knows plenty about as a former sideman for Femi Kuti. But he’s a trumpeter, not a saxophonist, and he loosely . . .

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

Tonight, my guest is Yosuke Kitazawa, discussing Light In The Attic Records upcoming Japanese reissue series -- a series that kicked off last year with the compilation "Even A Tree Can Shed Tears" and picks up next month with a grip of Haruomi Hosono reissues. Also, music from the new Anthology Editions book on the subrosa history of Library Music, entitled Unusual Sounds.

SIRIUS 529:

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Casual Water / Summer Crate Mixtape

Floated this medley of selections from our summer crate over to our friends at Reverberation Radio last week as part of their ongoing guest mix series. Lots of dub. Lots of reverb. Laisse rouler.

King Tubby & Yabbu U - Conquering Dub (excerpt)
Serge Gainsbourg - Javanaise Remake
Rikki Ililonga - Fire High
Mono Mono - Give A Beggar A Chance
Luiz Melodia - Baby Rose
Bob Chance - Jungle Talk
Ryo Kawasaki - Hawaiian Caravan
Brian Eno & David Byrne - Regiment
Basa Basa - African Soul Power (excerpt)
Talking Heads - Fela’s Riff (Unfinished Outtake)
Serge Gainsbourg . . .

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Strange Stars :: David Bowie, Pop Music, And The Decade Sci-Fi Exploded

Six days before he died in a car crash in 1977, Marc Bolan of T. Rex published a review of  George Lucas’ new film Star Wars  in his weekly column for Record Mirror. Praising the space opera as a "classic," he noted, “Now perhaps more people will pay attention to the science fiction field, where so many great poets, writers, and musicians are lurking unsung.”

Jason Heller is not the first writer to take science fiction and its poets and musicians seriously, but you get the sense that Bolan was distinctly forecasting something like Heller's new book, Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded.  In it, the science fiction field – and specifically its impact and influence on the music of the 1970s – gets its due. Focusing on under-recognized connections and moments when the science fiction establishment embraced music, like when the animated Yellow Submarine film and Paul Kanter's Blows Against the Empire earned Hugo Award nods -- the equivalent of Emmys in sci-fi, Heller’s sharp, lyrical, and evocative pages bring the relationship between music and science fiction to life.

Heller, the author of the satirical novel Taft 2012, whose work has appeared in Rolling Stone, Pitchfork, The New Yorker, and elsewhere, knows his stuff. Here, he connects Robert A. Heinlein’s Starman Jones to David Bowie’s Major Tom, traces hard SF pioneer  Samuel Delany's early forays into rock criticism  for Crawdaddy,  examines the "myth science" ethos of Sun Ra, how Michael Moorcock's  consciousness-expanding literature crossed over into the psychedelic rock of Hawkwind, and explores a  dozen  more corners of the pop spectrum where the influence of the space program, technological advancements, experimental science fiction novels, and films gave musicians license to showcase their most  propulsive ideas.

Though  his original idea for the book was to  broadly chart science fiction's influence on pop music -- encompassing everything from Billy Lee Riley's 1957 rockabilly rave-up "Flyin' Saucers Rock & Roll" to Janelle Monî¡e's current Do Androids Dream of Electronic Bangers aesthetic -- Heller instead chose to focus on the 1970s, a decade that found the tone and character of pop music tilting toward potential ideas about the future.

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Unusual Sounds: The Hidden History of Library Music

Last month saw the release of artist and filmmaker David Hollander's book Unusual Sounds: The Hidden History of Library Music, via Anthology Editions. A comprehensive must-read for those who relish and celebrate the expansive, often subrosa, world of Library Music, the work takes a deep dive into its varied history. With stunning original art by Robert Beatty, Unusual Sounds features histories and interviews, along with visuals from the field’s most celebrated creators. On the eve of the book's release, Hollander put together the following hour-long Library mix for Aquarium Drunkard. The author, below . . .

Library Music, or Production Music as it is sometimes called, is music pre-made for budget-conscious film, television, and radio production. It was never commercially released but pressed to LP in small quantities for filmmakers to preview. It was made mostly in Europe, with some of the most legendary libraries coming from the UK, France, Germany, and Italy. This Library mix includes tracks from all over, but focuses on Italian Library from the 70's, which provided the soundtrack to countless giallo and  poliziotteschi films.

Download: Unusual Sounds: The Hidden History of Library Music (zipped folder)

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The Lagniappe Sessions :: Rosali

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

Yup, we're big fans of Rosali Middleman’s new album Trouble Anyway. Cut with an arsenal of who’s who players of the Philadelphia scene, the album soars and burns with the raw emotion of being scorned while falling in and out of love. It’s not surprising Rosali picked three covers by women who have walked similar paths and come out the other side stronger and bolder. Trouble Anyway is out now via Scissor Tail/Spinster Records. The artist in her own words, below . . .

Rosali :: Metal Heart (Cat Power)

There is something about this song that strikes something deep in me. Maybe it's the way it rides a loose wave with members of The Dirty Three backing Chan or how there isn't a set A/B section, it just spills over itself with something that can't be contained. For the cover, I wanted to put a little Crazy Horse vibes on it and make it rock but still keep true to the emotional aspect of the original. This and "One More Dollar" were recorded and mixed by my friend Gerhart Koerner, who also plays drums on this cut.

Rosali :: One More Dollar (Gillian Welch)

I was working in a biology lab the summer after my freshman year of college when I first heard this song and it gave me chills. So I went home and taught myself how to play it that night. The way Gillian runs her phrases and melodies resonate with me so deeply and she's been a big influence on my songwriting. I wanted to keep the simple and natural quality of the original while adding some harmonies to bring out the hook of the chorus.

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Sonya Spence :: In the Dark

Sonya Spence’s “I Love You So” — a slice of downbeat reggae soul from 1978 - comes across so fragile and dreamlike, it feels as if it might drift away at any moment; either taking the listener with it or, like the title of the album it calls home, leaving them in the dark.

Spence hailed from Jamaica and enjoyed a brief impression of success with her cover of John Denver’s “Leaving on a Jet Plane.” Listen to the way she reinterprets the jaunty melancholy of both Denver and Peter, Paul, and Mary’s recordings, cutting straight to the heartache with soft wailing guitar and the porcelain delicacy of her ethereal vocal touch. Fittingly, she would record the song simply as “Jet Plane.” The leaving was a given.

Sonya Spence :: Jet Plane

While success vanished almost as quickly as it appeared, Spence recorded three original albums all of which were met with commercial failure, sending a pure wonder into obscurity. The first of these records, 1978’s In the Dark, finds desperation, loneliness, and unrequited love lining the grooves with Spence’s velvety mid-tempo range and beautifully restrained arrangements of rocksteady rhythms and quietly sorrowful soul. Perhaps no moment is more potent than on “I Love You So,” its cascading twinkles of piano and minimalistic groove offering Spence her only company in a life lived firmly alone, as she leaves her heart on the floor, pouring with doubt, anguish, and desire. At the two minute and twenty second mark, you can literally hear her trying to catch her breath.

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