John Scoggins :: Pressed For Time

The existence of the ‘tax scam’ LP is one of the stranger tales of the 1970s record business. In short, crooked label heads would press up demos of unsigned artists, outtakes from known artists, and other various ephemera in limited quantities that were thrown out into the market with zero promotion -- all based on the hopes of commercial failure and the ability for the ‘label’ to write off the failure as a loss.

John Scoggins’ Pressed For Time is one such record, and one that has become legendary in power-pop collector's circles. Originals are nearly possible to find, and sell for several hundred bucks when they do.

As it turns out Pressed For Time wasn’t a ‘solo’ album by any means, but the product of a New York band called Ramparts, led by Mr. Scoggins. Ramparts were a ubiquitous opening band in mid seventies Manhattan, and Scoggins himself worked as a roadie when he wasn’t gigging. In one of the more bizarre tales of A&R, the band was signed over the phone by a representative from Roulette Records new off-shoot, Tiger Lily Records (a quick search on organized crime and Roulette will take a reader on an insightful, intriguing ride through the criminal element of the music biz). Miraculously, even though the LP had zero promotion, Bomp Magazine’s Greg Shaw did, in fact, get ahold of a copy and wrote a very positive review, stating the lp was well worth the trouble to seek out.

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The Beach Boys: The River’s A Dream In A Waltz Time

Our enthusiasm for 70s era Beach Boys and the creative stretch of brothers Carl and Dennis Wilson runs deep, notably during the course of albums Surf’s Up, “So Tough, and Holland. And recently it’s the latter, Holland, a still somewhat overlooked gem from 1973 that is resonating most. Spend enough time with the record and you’ll find spectacular revelations beneath its miraculous scope; a sonic goldmine that reveals itself in greater and more profound depth with each seemingly infinite visit.

With Brian Wilson taking something of a backseat, younger brothers Carl and Dennis, along with manager and co-lyricist Jack Rieley, found themselves in a sandbox all their own. And in contrast to the waters of surf-pop innocence a decade past, here we peer through an aquatic lens matured and layered, revealing something altogether foggier and oblique.

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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 473: Jean Michel Bernard — Générique Stephane ++ Sun Ra - We’re Living In The Space Age ++ Honeyboy Martin & The Voices - Dreader Than Dread ++ Johnny & The Attractions - I'm Moving On ++ Andersons All Stars - Intensified Girls ++ King Sporty - DJ Special ++ Freddie Mackay - When I'm Gray ++ Hopeton Lewis - Sound And . . .

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Real Estate :: The Aquarium Drunkard Interview

Immediately apparent when listening to Real Estate is their sense of motion. Melodic guitar lines swirl; the rhythm section bounces and folds along; and their literal knack for memory and/or scenic based songwriting transports the listener to a specific place. All of this holds true on their fourth LP, In Mind. Recorded in Los Angeles (and with a augmented lineup), the band is in fine form.

Real Estate :: Darling

Preparing for some high profile gigs around the globe, we caught up with Martin Courtney and Alex Bleeker on the eve of the album's release, touching on their bi-coastal band arrangement, favorite venues, and recording in LA. Plus, all of the members sent over some tracks that inspired the new record (vibey, as expected).
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Aquarium Drunkard: The band is now bi-coastal. How has this impacted the writing, recording and rehearsing for the new album? Any growing pains and/or nice surprises?

Martin Courtney: Living in different cities definitely forced us to approach this album very differently. In the past, we were able to get together a few times a week and work on new songs as they came. This time, I spent a few months writing and demoing songs and sending them around to the band before we ever got together to work on them. Then, the rest of the band came out to the town where I live (very nice of them), rented a house down the street from mine, and we spent three weeks (in two different sessions) working on the songs and recording full band demos with Jarvis from Woods in an old converted high school art classroom.

Doing it that way, we actually probably ended up spending about the same amount of time on this album as we did on Atlas, just all at once instead of spread out over a few months. And, it was super fun getting up every day, walking to the school together, and spending a few hours jamming. The vibe was really good the whole time, and we approached the songs in a looser, more free way. I really feel like the good vibe during the writing sessions carried through the whole process and is audible on the record. This was a fun album to make.

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Chaz Bundick Meets The Mattson 2: The AD Interview

Collaborating as often as they do, Chaz Bundick (Toro y Moi) and Jared and Jonathan Mattson (The Mattson 2) seem especially glowing while speaking of their latest project. As a record, Chaz Bundick Meets The Mattson 2 is quite unlike previous releases for both artists, one that takes the listener across a cosmic seesaw, showing glimpses of jazz and psych, seemingly only stopping to pivot. We reached the three via phone late last month to better understand the importance of the collaboration, improvisation, and this style of exploration.
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Aquarium Drunkard: It seems like you guys had a lot of fun making this record. Where would you say the jumping off point was from other projects you work on?

Chaz: The main difference for me - I got the chance to make something that wasn’t Toro, and I could really just express who I am, outside of pop music. That was the biggest opportunity I saw, in trying to make a record like this - cause I love jazz, and psych rock, but I never really felt comfortable making it, like it wasn’t for a pop audience. This record, I felt I got to share more of my musicianship. And I’m sure it’s probably the opposite for the Mattsons.

Jonathan: I like that. I feel like that for the Mattsons, too -- we have a great audience and stuff, they understand our music. But it’s instrumental, well most of it’s instrumental, and I feel like working with Chaz, it helped us really solidify our ideas more and not rely so much on our improvisational elements. But the improv that we do feature on the album is some of the most innovative ways we’ve done it. For me, I think he just helped us solidify our ideas more and make it more fine-tuned, and make it more accessible to our audience and a different audience as well.

Jared: A cohesive unit, which this was, is not one voice - it’s a complete collective voice, and there couldn’t be one without the other. We were all devoted and on site, and so it was this cool experience where we were writing in real time and jamming in the studio -- it was this collective voice that we were following. And Jonathan and I, we’ve never used engineering ability as an instrument or a compositional tool, and I feel that’s a major aspect of Chaz’s work - he uses the post-production, and engineering, and all that mixing and stuff - I view that as his instrument and his sound. It was amazing to be able to use the post-production aspect of Chaz’s talent with our improvisational style.

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Endless Boogie :: Vibe Killer

There are few constants out there in this big, bad world; few things one can always count on. But check it out, Endless Boogie is one of them. Helmed by Paul "Top Dollar" Major, the band's next lp, Vibe Killer, is out May 19th via No Quarter Records. To commemorate the event, I asked sometime member, guitarist, and super-fan . . .

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Lifted On High :: The Texan Transcendence of Lift To Experience

"This is the story of three Texas boys, busy mindin' their own bidnis when the Angel of the Lord appeared to them saying, 'When the Winston Churchills start firin' their Winston rifles into the sky from the Lone Star State, drinkin' their Lone Star Beer, and smokin' their Winston cigarettes, know the time is drawin' nigh, when the Son shall be lifted on high.'"

So begins Lift to Experience's The Texas-Jerusalem Crossroads, the best Texas psychedelic, post-rock, shoegaze LP of 2001, a distorted eschatological blur of Leslie speaker-spinning guitar . . .

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Don Muro :: Synthesizer Pop For a New Age

Back in 2013, our friends at Flannelgraph Records hipped us to the synth pop sound of Don Muro when they reissued his 1977 LP It's Time. Since then, Flannelgraph has kept at it regarding Muro, following up with Souffrances et Extases du Jeune Amour in 2014, which featured previously unreleased material recorded between 1969-1974, and We All Need Each Other: The 1968-69 Recordings and the As Long As I've Got You EP in 2015. But there appears to be plenty more worth . . .

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1970’s Sesame Street: Steel Drum Rhythm / A Drum From A Barrel

Children's programming just doesn't seem to teach the kids how to do the important things in life anymore. You know, like make steel drums. But that wasn't always the case! Dig the bygone era of funky 70s and 80s public broadcasting. Specifically, the halcyon days of Sesame Street.

Strong on execution, following an exercise on how to make a drum from a barrel, we then join the gang  in medias res as they take the sounds to the beach - "hey kids, you feel the rhythm? you know there . . .

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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 472: Jean Michel Bernard — Générique Stephane ++ Ryo Kawasaki - Raisins ++ Herbie Hancock - The Twilight Clone ++ James Mason - Sweet Power of Your Embrace ++ Talking Heads - Double Groove (Outtake) ++ CAN - I Want More ++ The Headhunters - If You’ve Got It, You’ll Get It (AD edit) ++ CAN - All Gates Open ++ Cate Le Bon . . .

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Sleepwalker :: The Voyage (featuring Pharoah Sanders)

Visiting Tokyo in 2003, Pharoah Sanders sat in with local spiritual jazzists Sleepwalker at a club gig laying down what would become "The Voyage". Released the following year as a Japanese-only import single, the track later served as the cornerstone and title track of Sleepwalker's third  LP. Taste, below.

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Chances With Wolves 4 / Penguin Dust – A Mixtape

Our guest mixtape series returns with the fourth offering via our east coast compatriots, NYC’s Chances With Wolves: Penguin Dust - A Mixtape. As always, it’s a heady/essential brew.

Records are magic. Some of them cast different sorts of spells from others but all of them contain some amount of encapsulated air from the rooms they were recorded in. They become little vessels for cultural information. Penguin dust. We . . .

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The Districts :: Ordinary Day

The post-Vile/War on Drugs Philly renaissance has only grown stronger with the addition of four-piece  The Districts. “Ordinary Day” is the group’s first track since their 2015 release,  A Flourish and a Spoil. The band sounds tight and confident on the new song, as singer Robby Grote sings, “An ordinary sunset/An ordinary day,” before coming to the realization . . .

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Psychedelic Soul On Wax (Eldridge Cleaver vs. Timothy Leary)

As a producer and author, Pat Thomas has been behind some incredible stuff, helping to reissue albums by Judee Sill, the Dream Syndicate, Bobby Whitlock and   more, authoring Listen, Whitey!: The Sights and Sounds of Black Power 1965-75 and compiling its accompanying soundtrack, producing the . . .

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The Feelies :: In Between

They celebrated their 40th anniversary in 2016, but compared to other bands of a similar vintage, the Feelies' discography is relatively slim. That's OK. Each Feelies record is a gem, filled with Velvet-y jangle-n-strum, pulsing rhythms, and hook-filled songwriting. The band's new one, In Between . . .

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