Dave Davies :: The Aquarium Drunkard Interview

For Kinks guitarist Dave Davies, music isn't an intellectual pursuit. In Davies' mind, creation is a purely instinctual action, not a result of the brain so much as the gut.

"When you first start to get into music, you write something and if it feels good, maybe it is good," Davies says over the phone, reflecting back on the early days of the Kinks, the legendary rock & roll band he formed with his brother Ray in 1964. In the years since those nascent days in Muswell Hill, the Davies brothers have feuded off and on, but Dave's reputation as a hard rock and punk pioneer has only solidified. His raw guitar sound has inspired countless followers, including Ty Segall and Chris Spedding, who both appeared on his 2013 solo album I Will Be Me.

But Davies' latest is a more personal, stripped-down affair. Called Open Road, it was recorded with Dave's son Russ. Though the two have collaborated together for years now, the record marks a shift from electronic experimentation to more traditional singer/songwriter format. AD spoke with Davies about the record, some recent Kinks demos, his attraction to metaphysics, and abiding love of science fiction. Our conversation has been condensed and edited.

Aquarium Drunkard: You’ve collaborated with your son Russ for quite a while now. But Open Road is different than your previous collaborations. How did it work, melding your sensibilities as a songwriter to Russ’ more electronically-focused angle?

Dave Davies: We’ve wanted to do something more in the vein of a rock album...[Russ] was really keen on getting into this new area.

AD: What’s it like writing with your son? As a songwriter, part of your job is to get somewhere very vulnerable and open. Is getting to that space  with your son interesting?

Dave Davies: Russ is a very confessional, very sensitive musician, so it was comforting to work within that trust. The two of us working together helped emotionally; I wasn’t so worried about opening up to him, he knows me pretty well. I could trust him with my thoughts and feelings and likewise. There’s a line on “The Path Is Long” that goes, “You and I/We need to trust.” I really hooked into that. Trust is important when you’re working so closely on a project like this, or any creative project. That trust element totally freed us both up to try things out.

AD: There seems to be a theme of “family” running through your work. You founded the Kinks with your brother Ray. And while it’s difficult to pick a favorite Kinks record, most days Muswell Hillbillies is my favorite. On that record you were drawing from the people around you and to some degree, your own family history.

Dave Davies: Ray and I were obviously very influenced by country music, especially in the early days, with Hank Williams, Earl Scruggs, Lester Flatt. But the heart of the album, the theme really, is about a family having to move to another part of the city, focusing on tales about different characters in the family and what they did. It’s one of my favorites too, along with  Arthur. I like them all for different reasons, they’re very different from each other. That’s been the joy of being in a band like the Kinks. There’s a wealth of ideas me and Ray can draw from, including our childhood, our family.

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Megan Sue Hicks :: Hey, Can You Come Out and Play

Anthology Recordings is gearing up to shine an in-depth light on a collection of rare psych, rock, and folk nuggets sourced from 70’s Australia. Compiled by countryman Mikey Young (Total Control, Eddy Current Suppression Ring) and Anthology’s own Keith Abrahamsson, Follow The Sun drops May 5th and is sure to soundtrack a score of fazed-out summers. Following the premiere of Mata Hari’s blissed garage cut “Easy” comes Megan Sue Hicks’ "Hey, Can You Come Out and Play, " a slice of loner . . .

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

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 476: Jean Michel Bernard — Générique Stephane ++ Trailer Trash Tracys — Candy Girl (demo version) ++ Omni — Wire ++ The Vaselines — Son of A Gun ++ Ty Segall — Caesar ++ Indian Wars — If You Want Me ++ Parquet Courts — Paraphrased ++ Les Olivensteins — Fier De Ne Rien Faire ++ The Bellys — Chow Chow ++ Zig Zags — Wastin’ My Time ++ Wire . . .

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Dead Notes :: The Zine, Issue #2

How many Deadheads does it take to screw in a light bulb? 1000. One to do it and 999 to tape it.

There was a time when yellow envelopes stuffed to the gills with Maxell XL2s and patchouli-soaked trading lists were the norm. Maybe those packages would lead to being invited to a fellow head’s apartment or dorm room for all-night dub sessions or back room trades at your local head shop. With those tapes came new friendships, show and band recommendations, and stories. Those stories came in both the handed down . . .

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Transmissions Podcast :: Allah-Las

Welcome to Aquarium Drunkard's recurring Transmissions podcast. Today, we're launching a new mini-series in collaboration with the folks at Mexican Summer. Last month, we sent AD's Jason P. Woodbury to Marfa Texas to attend Mexican Summer's Marfa Myths Festival, a four-day, multi-disciplinary celebration of art in music in West Texas, which resulted in his essay, "There's No Such Thing As Nowhere."

While out there, Woodbury hooked up with a number of Myths performers to record interviews. For this episode, he sat down with the Los Angeles-based four-piece the Allah-Las, to discuss the group's record store roots, sound, and Reverberation Radio, their long-running online radio series.

Transmissions Podcast :: Allah-Las

Subscribe to the Aquarium Drunkard podcast on  iTunes  or via  RSS feed.

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Aquarium Drunkard Presents: Kamasi Washington / New Orleans May 4th, 5th and 6th

New Orleans. Aquarium Drunkard presents Kamasi Washington at One Eyed Jacks / May 4th, 5th and 6th. We have a few pairs of tickets to give away to AD readers. Into it? Leave a comment with your favorite jazz lp from 1968. Tickets available, here

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Ciao! Manhattan :: Original Motion Picture Soundtrack

Edie Sedgwick famously said she wanted "to turn the world on just for a moment." Ciao! Manhattan, the 1973 film written and directed by Warhol Factory associates John Palmer and David Weisman, might be the closest she ever came to that ambition.

It's a complicated film, a semi-fictionalized account of Edie as Susan Superstar, who travels from the Warhol's New York to a drained swimming pool in Santa Barbara. In some ways, it serves as an elegy for the Sixties itself, and more literally so for Edie, who passed away from an overdose in 1971, just after the film was finished.

On Record Store Day, April 22, Light in the Attic Records/Cinewax will release the film's soundtrack for the first time. Featuring counter culture stars like Richie Havens, John Phillips, and Skip Battin (Flying Burrito Brothers/The Byrds), the soundtrack also features rare recordings  by Kim Milford, whose song "Justice" is a highlight, the synthesizer soundscapes of Factory "star" and model Gino Piserchio, and dialogue from the film. The LP is limited to 2,000 copies on "Angel Shock" color vinyl, features audio and film clips remastered from the original transfers, and includes a 20-page book with archival photos and an interview with writer/director David Weisman by Aquarium Drunkard writer Jason P. Woodbury.

Presented here, an excerpt from those notes, an attempt to capture both the psychedelic spirit of the era and also the sadness and tragedy that defined Sedgwick's life.

Ciao! Manhattan is, first and foremost, about Edie.

Edie Sedgwick, socialite and heiress, the most dazzling of Andy Warhol’s Superstars. The true “It Girl” of the Pop Art age. Warhol projected his showbiz dreams on Edie. It’s speculated that Bob Dylan wrote “Just Like a Woman” and “Leopard-Skin Pill-Box Hat” with her in mind; it’s certain Lou Reed wrote The Velvet Underground’s “Femme Fatale” about her. Edie inspired a particular kind of devotion.

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Coco Hames :: The Aquarium Drunkard Interview

Coco Hames likes to crack wise about "getting away with it" -- as if her career as a musician and record store  is some trick she's pulling off. But the singer/songwriter's newly released self-titled solo debut is no fluke or chance occurrence. Though it's  her first for Merge Records and first released under her own name, it's a work of undeniable craftsmanship, honed over years. The LP finds Hames  expanding on the garage rock of her band The Ettes, maintaining that group's direct punchiness, but adding sun-dappled country soul, R&B,  jangle rock, and classic Spector Wall of Sound pop to the mix. Twangy and sly, the album reflects Hames'  roots in the South. It's easy to hear  noted inspirations   Patsy Cline and Bobbie Gentry in songs like "I Do Love You" and "You're Calling Me," but Hames still rocks  too, particularly on the charging "I Don't Wanna Go." Though it's not easy to categorize -- pitched somewhere between a power pop record and a traditional singer/songwriter outing -- it feels whole and natural within Hames' discography. The same spirit she caught on tape with The Ettes is here, only matured and refined.

Coco Hames :: You're Calling Me

AD caught up with Hames over the phone from her place in Memphis. The conversation was freewheeling, with Hames bouncing from Simpsons  and  Broad City  references to discussing writing songs for Tom Scharpling's  long-running comedy/music program The Best Show, covering Tommy Stinson, and coming into her own as a solo artist.  This conversation had been condensed and edited for clarity. Coco Hames is available now via Merge Records.  

Aquarium Drunkard:  You've been writing songs for a long time. Have these  songs been kicking around in your head for some time now?

Coco Hames: I would say maybe half of them. Some of them were maybe gonna be on the next Parting Gifts record; one of them is fifteen years old. Straight up I wrote it when I was...oh, yeah twenty. I was kind of like, it was time, you know? I was just ready to make a record. The Ettes sort of petered out -- I guess we broke up -- but  Poni [Silver] and I are still really good friends. I remember, talking with [Reigning Sound and Parting Gifts songwriter] Greg Cartwright, and he told me, "You get tunnel vision when you're in a project like that." As individuals we're human beings and we all have stuff that we want to do that doesn't just exist in this vacuum of the band and that's okay.

After the band ended, there were like two years where I wasn't really writing songs for myself. I wrote songs for Gary the Squirrel on The Best Show. That was fun, but I didn't feel like I needed to do anything else. But eventually I was like, "Yeah, I'm a songwriter, this is what I do, and I love it. I think maybe I should put some songs out."

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The Monkees :: Head / Alternate Version

While it’s a very short album, The Monkees' Head arguably features their strongest overall collection of songs (with Headquarters a close second). There isn’t a bad song on the record, and it’s interspersed with trippy dialogue edited in Burroughs-esque cut-up fashion from the 1968 film of the same name, all adding as the Monkees' most psychedelic work. Recently, the folks at become a member or log in.

Harold J. “Suni” McGrath :: In Memory

Recently, Josh Rosenthal, proprietor of Tompkins Square and author of Record Store of the Mind, reached out to us with news that acoustic guitarist Suni McGrath had passed. Introduced to many by the Imaginational Anthem, the acoustic guitarist's work is treasured by guitar soli aficionados. Rosenthal, with a remembrance in his own words, below...
__________________________________________________________________________________

I don't know why I'm so surprised when one of my obscure guitar heroes dies without a trace, and I have to find out through vague back-channels some three months after the fact. But guitarist Glenn Jones informed me this week that he heard via an online guitar chat group that Suni McGrath had passed. So I looked online and found this small obituary , like so many millions of others, with no biographical detail. No mentions on any music-related site. Nothing.

Suni was one of the first artists I tracked down when I started my label, and he recorded his first music in decades for Tompkins Square. He wrote me letters over a period of a year or so, with photos, details of his life. I was honored to know him and thrilled to get to record him. I felt compelled to write a proper obituary for Suni McGrath. Farewell to "the old fingerpicker", as he used to sign off in his letters….

Harold J. "Suni" McGrath
July 7, 1943 - Jan 11, 2017

Harold James "Suni" McGrath, an innovative 12-string guitarist whose experimentation with exotic scales, modes and polyrhythms were captured on recordings in the late 60s and early 70's, died January 11 in Richmond, IN. He was 73.

McGrath's distinctive style earned him a reputation among instrumental guitar aficionados alongside his contemporaries John Fahey, Robbie Basho, and Leo Kottke, despite having a small, long out-of-print discography and limited live performing career.

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Six Organs of Admittance :: Burning the Threshold

The Six Organs of Admittance catalog is deep and varied, each album offering the listener a terrifically tangled journey through Ben Chasny's boundless musical imagination. For that reason, it's tough to pick out a single "best" Six Organs effort. But Burning The Threshold is definitely in the upper echelon. For this effort, Chasny enlisted the help of some heavy hitters: Circuit des Yeux's Haley Fohr, Ryley Walker, Damon & Naomi, and Chris Corsano among them, each one digging into Chasny's . . .

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Philip Lewin :: Am I Really Here All Alone?

Another dive into the world of the 1970s private press universe via the ever-reliable Tompkins Square label. Released in 1975 in an edition of 300, Philip Lewin's Am I Really Here All Alone? has gained a following over the decades among crate digging aficionados – and rightfully so.

It's a powerful set of tunes, with Lewin's echoey acoustic guitar, desolate vocals, and stark piano work cutting through the lo-fi murk. Lots of stuff gets called "loner folk" these days, but as the title . . .

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Bonny Doon :: S/T

Detroit's Bonny Doon have a knack for melodies that breeze by in easygoing fashion – each tune on the band's new self-titled LP is as effortlessly catchy as can be, calling to mind Stephen Malkmus at his friendliest. But underneath the Gold Soundz you'll find a vein of melancholy. A nice contrast. Bonny Doon wears its 1990s indie influences on its sleeve (Pavement, Silver Jews, the early Smog releases), but that's no complaint; songwriters Bill Lennox and Bobby Colombo bring a freshness and enthusiasm to these timeworn grooves, whether it's the lackadaisical . . .

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On Fillmore (Darin Gray, Glenn Kotche) :: The Aquarium Drunkard Interview

Bassist Darin Gray and percussionist Glenn Kotche first began playing together nearly 20 years ago, when they hunkered down in the studio with "mutual best friend" Jim O'Rourke to record what would become his 1999 album Eureka. Not long after, they formed a duo, On Fillmore, rooted in a shared love of experimentation, free improv, and field recordings, but also, a tangible personal connection that Gray says was apparent immediately.

“It was an instant thing – from the first time we played together," Gray says. "It would be too romantic to say that I knew we were going to play together forever, but like, it was almost like that. It was one of those weird moments that not only musicians have, but just human beings have, where you just know. You know this is right, you know something special is happening. I’ve learned to appreciate those moments, because there’s not that many of them in life.”

Both maintain a tight schedule -- Kotche as a member of Wilco and a solo composer, Gray as a touring member of Jeff Tweedy's side group Tweedy, among other commitments -- but there's a palpable sense of joy when they are able to make recordings together. Last year, they played on guitarist William Tyler's stunning Modern Country, and now, a new On Fillmore LP,  Happiness of Living.  Recorded in  Brazil, the two opened up their sound with a wide cast of collaborators, including Ciara Banfi,  Domenico Lancelotti, Alexandre Kassin, Caetano Veloso's son  Moreno Veloso, vocalist  Gabriela Riley, and Mauro Refosco of Thom Yorke's  Atoms for Peace.

AD caught up with Kotche and Gray individually to discuss the kaleidoscopic, layered sound of the record and discuss why Brazil -- and On Fillmore -- maintain special places in their hearts. Those conversations, condensed and edited, presented below.

On Fillmore :: Jornada Inteira

Aquarium Drunkard: What space does On Fillmore occupy for you creatively?

Glenn Kotche: It’s always scratched an itch I don’t really cover in a lot of my other work. It’s just been a great partnership with Darin to just follow our whims. It’s just very different from my composing or even my solo playing, and especially from Wilco. We push each other to not put up any walls and just have open minds. I don’t think On Fillmore feels like anything else I do.

Darin Gray: On Fillmore is definitely not a side project. It’s always there. It seems like we take really long gaps between working together, but actually we don’t. We’ve done film scoring, some commercial work. We always have something on the burner we’re doing. We’ve recorded hours of stuff that hasn’t been released. It occupies a huge part of my mental space. I consider it one of my main things, if not my main outlet at the moment.

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

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 475: Jean Michel Bernard — Générique Stephane ++ The Buff Medways - Archive From 1959 ++ The Clash - 1977 ++ The Libertines - I Get Along ++ Billy Bragg - New England ++ Pink Mountaintops - Erected ++ The Jon Spencer Blues Explosion - My War (Black Flag) ++ Ty Segall Band - I Bought My Eyes ++ Black Lips - Not A Problem (Live in . . .

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