The Besnard Lakes :: You Make Loving Fun (Fleetwood Mac)

Fleetwood Mac The Besnard LakesPosted on

Enter the Besnard Lakes cover of the Mac classic “You Make Loving Fun". Back in January of 2013, UK magazine MOJO included a companion disc of Fleetwood Mac covers entitled,  Rumours Revisited: A Tribute to Fleetwood Mac’s Classic 1977 Album. It features the group’s trademark guitar wash and wall-of-sound . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

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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.

SIRIUS 487: Jean Michel Bernard — Générique Stephane ++ Omni - Afterlife ++ Medium Medium - Hungry, So Angry ++ Talking Heads - Seen And Not Seen ++ Vivienne Goldman - Private Armies Dub ++ Maximum Joy - Let It Take You There ++ Atlas Sound - Recent Bedroom ++ Brian Eno - No One Receiving ++ Cave - Arrow’s Myth ++ Fela Kuti - This Is Sad ++ Johnny Rotton/Sid Vicious interview ++ Steel Leg - Unlikely Pub ++ Serge Gainsbourg . . .

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Yoko Ono :: Mind Train

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In the liner notes of 1971's Fly, Yoko Ono included a special note about Fluxus instrument maker Joe Jones: "I was always fascinated by the idea of making special instruments for special emotions -- instruments that lead us to emotions arrived by their own motives rather than by our control."

That idea, of implement informing expression, hovers over the three albums comprising Secretly Canadian and Chimera Music's second wave of Ono reissues: Fly, and 1973's Approximately Infinite Universe and Feeling . . .

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Jah Wobble :: The Aquarium Drunkard Interview

Jah Wobble The AD InterviewPosted on

“Left to our own devices with this group, we’ll lean toward jazz, funk, Afrobeat,” bassist Jah Wobble says of his band, Invaders of the Heart.

Though best known for the noisy work he did on albums like First Issue and Metal Box with  Johnny Rotten's post Sex Pistols band Public Image Ltd, Wobble (real name John Wardle -- say it out loud) has been a restlessly creative player for nearly 40 years. A consummate collaborator, he's worked with Brian Eno, Sinead O'Connor, U2's The Edge, Holger Czukay and Jaki  . . .

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The Lagniappe Sessions :: Gold Star

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

This week's installment of the Lagniappe Sessions catches up with the Los Angeles-based Gold Star - the songwriting/performance vehicle of Marlon Rabenreither. Bathed in reverb, Rabenreither lays down a Billy Swan inspired take of the King's "Don't Be Cruel" along with the Springsteen . . .

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Transmissions Podcast :: Nick Lowe

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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. We're proud to share an interview with Nick Lowe this week. AD's Jason P. Woodbury talked with the producer, songwriter, and performer, who's made records with Elvis Costello, the Damned, Squeeze, Johnny Cash, and dozens more, and penned classic songs like "What's So Funny About Peace, Love, and Understanding," "Cruel to Be Kind," "I Love the Sound of Breaking Glass," "The Beast in Me," and many others.

On Friday, July 14th, Yep Roc Records releases the first in a series of reissues documenting Lowe's '80s era, beginning with 1982's Nick the Knife and 1983's The Abominable Showman, with the rest of his catalog through 1990's Party of One coming throughout 2017. The period saw the British rocker expanding his stylistic palette, exploring the ties between skiffle and country music. While his edges softened some sonically, his lyrical focus remained sharp, and songs like "All Men Are Liars" and "My Heart Hurts" point to the kind of songs that would bolster his late career renaissance in the early 2000s and up to present day. We reached Lowe from Nashville to discuss those records, his marriage to Carlene Carter, pub rock, punk rock, hanging out with Lemmy's pre-Motî¶rhead band Hawkwind in the early days, and a lot more.

Transmissions Podcast :: Nick Lowe

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Mid-Century Sounds :: Deep Cuts from the Desert

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Dedicated record heads will certainly recognize some of the names on the tracklist of Mid-Century Sounds: Deep Cuts From the Desert, a new 2xlp survey of southwestern sounds: country star Waylon Jennings, rockabilly king Sanford Clark, and Wrecking Crew guitarist Al Casey. But it's the name "Floyd Ramsey" that serves as a thread connecting the disparate sounds of the compilation, tying the western shuffle of Joe Montgomery's "Two Time Loser" to the loose R&B of Roosevelt Nettles' Chess single "Drifting Heart" and binding the raw garage rocker "What's Happening" by Phil and the Frantics to the strutting funk of Fat City. Ramsey owned Phoenix's Audio Recorders studio -- where Duane Eddy cut the famous "Rebel Rouser" with Lee Hazlewood and engineer Jack Miller -- and headed a series of record labels, including Liberty Bell, Ramco, MCI, and Rev, responsible for issuing much of the material collected here. In short, a significant stretch of Arizona's musical history is bound up in the personal history of Floyd Ramsey.

Shepherded by David Hilker and Jeff Freundlich of Phoenix's Fervor Records, Deep Cuts from the Desert documents the fertile period from 1957-1973. The collection offers a wide-angled snapshot of Phoenix's popular music scene from that time. Regional hits like Christopher Blue's soft-pop 1970 single "Happy Just to Be Alive" and Judy Linn's brass and string-laden 1961 lover's lament "Old Enough to Have a Broken Heart" sit alongside nationally recognized fare like Al Casey's "Cooking" and Ted Newman's "Plaything," which earned the singer a spot on the RCA Records roster in 1958. Featuring western ballads, sun-baked funk, garage rock, country, and sepia-toned pop, the album speaks to Ramsey's wide taste and interest in diverse sounds.

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Bomboclat! Island Soak 7 :: Jamaican Vintage (A Mixtape)

Bomboclat! Mixtapes Reggae/DubPosted on

Island Soak Vol. 7 is back. Heavy on the rocksteady, twenty-three deep cuts highlighting the abundance of crooning talent and metronome-like rhythms that populated the era. Contact high approved . . .

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

SIRIUSPosted on

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.

SIRIUS 486: Jean Michel Bernard — Générique Stephane ++  Quincy Jones — Hummin’ ++ Harare — Give ++ Jingo — Keep Holding On (pt. 1) ++ Dwight Sykes — Bye ++ Alton Memela — The Things We Do In Soweto ++  Gene Boyd — Thought Of You Today ++ The Montgomery Express — The Montgomery Express ++ The 4th Coming — Cruising Down The Street ++ Trinidad . . .

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Lynn Castle :: Rose Colored Corner

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At the height of the swinging '60s, Lynn Castle was a barber to the stars. Del Shannon, members of the The Monkees and the Byrds, Sonny and Cher, Neil Young, and more, Castle groomed them all, indulging in the cultural moment when the country embraced long locks on men and women alike. Nicknamed "The Lady Barber," she became a West Coast phenomenon from her station at Rogue Barber Shop in Los Angeles. The Washington Post wrote about her in 1967, calling her a "shapely blonde in blue jeans." Long hair was, "Not just for actors," Castle is quoted. "Even conservative doctors and lawyers look good with long hair."

But even as buzz crescendoed around her work as a stylist, Castle was living something of a double life. When she wasn't working at the salon or taking care of her two children, she was writing poignant, sepia-toned ballads. Though her songs were recorded by the Spinners ("Love's Prayer," which she wrote as a teenager) and the Monkees ("Teeny Tiny Gnome (Kicking Stones)," recorded during the More of the Monkees sessions), most never saw the light of day. Until now. The recordings she made with producers Jack Nitzsche and Lee Hazlewood are featured on a new collection from Light in the Attic, Rose Colored Corner, named for the song included here twice, as both a stark demo recording and an arranged, psychedelic version with Phoenix psych-band Last Friday's Fire.

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Aquarium Drunkard Presents: Golden Retriever / A Mixtape

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Built on a foundation of altered/mutated bass clarinet and synthesizer, the sound of Portland's Golden Retriever evokes vast expanses. Though the core of the project remains Matt Carlson and Jonathan Sielaff, those expanses get even wider with Rotations, the duo's forthcoming album. Out July 28 via Thrill Jockey, it features a maximized approach, incorporating the playing of a full chamber ensemble, with strings, reeds, pipe organ, piano, and percussion in concert with the duo's cosmic drones. Built from edited and collaged . . .

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The Lagniappe Sessions :: Psychic Temple

Lagniappe Sessions Psychic TemplePosted on

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

On its new record IV, Chris Schlarb's Psychic Temple expands and blooms. Inspired by Brian Wilson's "Teenage Symphonies to God," the record spans generations, featuring Joni Mitchell bassist Max Bennett, the legendary Terry Reid, and Mick Rossi (Philip Glass Ensemble) alongside young players like Nedelle Torrisi (Cryptacize . . .

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James Elkington :: The Aquarium Drunkard Interview

James Elkington The AD InterviewPosted on

Looking for a thread connecting some of the year's best records, from Joan Shelley  to Wooden Wand's Clipper Ship,  Brokeback's  Illinois River Valley Blues to Michael Chapman's 50?  Look to guitarist James Elkington. For the last couple years, the UK-born, Chicago-based musician's been everywhere, playing with Steve Gunn,  Lî¦titia Sadier, Tweedy, Richard Thompson, and many more.  Now, Elkington adds another record to the list of this year's most engaging: his own lp, Wintres Woma.

Recorded over a handful of  days at the Wilco Loft, the album recalls Bert Jansch's California recordings and Kevin Ayers' most pastoral moods, subtly blending English chamber folk with rock and jazz touches. It's deceptively casual, revealing more humor and depth with each listen. Strange characters, seances, cursed week days, and astral musings make Elkington's songs, which showcase his  progressive pop tendencies ("Make It Up"), dreaminess ("Wading the Vapors)" and prove he can amble with the best of them ("Hollow in Your House," "Sister of Mine").

Elkington is as warm and thoughtful in conversation as he is on record. AD recently spent some time with him to discuss the community of likeminded songwriters he finds himself in and why now felt like the right time to strike out on his own. Wintres Woma is out Friday, June 30.

Aquarium Drunkard: Your resume is really something. You're all over the place.

James Elkington:   I definitely feel like part of a community right now, which is something that I feel like I always wanted to be actually. Before I moved to the States, I lived in London for about ten years. I was in bands and stuff and I never felt any sense of community there. It was very insular and people just had their heads down and were doing their own thing. I would buy all these records from Chicago and I'd see the same names come up all the time. I was like, "God, they all live in the same town and they all play on each other's projects. It just sounds so liberating and creative." Actually being here, it became everything that I wanted. It actually sort of transcends the music in a way. It seems to be a more general sensibility.

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Bob Seger :: Brand New Morning / All-Acoustic, 1971

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Silver Bullet Band this is not. While the masses may associate Seger with 1970s Motor City rock & roll and Chevy commercials, others champion the underrated, pre-stardom garage rock of The Bob Seger System and The Last Heard. Yet few are aware that in 1971, following the dissolution of the . . .

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The Artist Formerly Known As Captain Beefheart: A Documentary

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"This the story of one of rock's great mavericks, and it began in the quiet Los Angeles suburb of Glendale in 1941." And so it began...

Courtesy of the BBC, and narrated by John Peel, the following 1997 film documents the late Don Van Vliet's artistic journey from meeting Frank Zappa in high school, through the formation of Captain Beefheart & The Magic Band and beyond.

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