James Booker :: Return of The Bayou Maharajah

In July of 1978, James Carroll Booker III sat down at a grand piano in a large concert hall in Montreux, Switzerland and played “True.” The video of this performance is spellbinding, if not galvanizing — equal parts Crescent City grit and classically trained sorcery. Midway through the song, after an otherworldly flourish of keys, Booker shoots a glance towards his fans (and the lens), as if to say, “Top that.” A few minutes later, as the last note rings out, the crowd stands and roars in affirmation of his sentiment. There was no match for the enigmatic New Orleans maestro on that night. He was at the top of his game, performing to a rapt audience in exactly the world-class venue his rare talent deserved.

Allen Toussaint called James Booker a “genius.” Dr. John said he was "the best black, gay, one-eyed junkie piano genius New Orleans has ever produced." Mick and Keith wanted him to play at their after party. Hunter S. Thompson named his writing style after his song, “Gonzo.” Lily Keber fell in love with his story while working behind the bar at Vaughan’s Lounge in the far reaches of the Bywater. Before long she was deep in the catacombs of Booker’s tragic legend, piecing together what eventually became Bayou Maharajah.

We caught up with Keber awhile back to chat about the film. She was —fittingly–in Europe. Read on to learn more about Booker and the making of Bayou Maharajah. Oh, and good news, as of today, the film is streaming on Netflix. Finally, the Black Liberace is getting another moment in the spotlight to strut his stuff.

James Booker :: True (Live at Montreux), July 1978]

Aquarium Drunkard: You became interested in Booker while working as a bartender at Vaughan’s. What were some of the stories that drew you in?

Lily Keber: The first stories that I heard were some of the typical James Booker stories. Throwing up on a piano. Holding a gun to his head and saying he wouldn’t play another note until someone brought him some cocaine. A lot of crazy sex stories - the wild side of life. But I think maybe it was because everyone understood what an incredible player he was. Most of the stories were at the end of his life. People remembered a lot of stuff at the Maple Leaf, more than the Toulouse Theater.

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The Lagniappe Sessions: Pearl Charles

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

One foot in the past, one in the present. Enter Pearl Charles. Having exited the country leaning Driftwood Singers in 2012, followed by a brief stint in the garage drumming for Blank Tapes, Charles has carved out her own path of late. Mining the indigenous coast and canyon sounds emanating from her native Los Angeles, her latest work is imbued with an increased sense of self. Here, we find Charles paying tribute to the late great Sir Doug Sahm, covering "At The Crossroads", along with her take on the evergreen "Superstar" -- penned by Bonnie Bramlett and Leon Russell, covered by many.

The artist, in her own words, below . . .

Pearl Charles :: Superstar (Bramlett/Russell)

I was reintroduced to The Carpenters through the Todd Haynes' student film Superstar: The Karen Carpenter Story, in which he recreates her life using Barbie dolls. You can watch here. I had been familiar with the song prior but had no idea that the song was actually written by Bonnie Bramlett of Delaney & Bonnie and Leon Russell and was originally titled "Groupie (Superstar)".

Pearl Charles :: At The Crossroads (Sir Douglas Quintet)
Doug Sahm named his band The Sir Douglas Quintet in an attempt to  piggyback on the success of British Invasion in the 60's. Though they started out as a garage rock group, by 1969  Doug had moved to California and began exploring psychedelics and country-rock. I chose this tune because while the song is representative of this later period in which Doug explored more soulful, countrified ballads, I still wanted to pay tribute to Doug's Texas roots, which he references in the chorus line "You just can't live in Texas if you don't got a lot of soul".

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Transmissions Podcast :: Jesse Jarnow’s Heads: A Biography of Psychedelic America

Welcome to the sixth episode of AD's Transmissions podcast, our recurring series of in-depth conversations. In this episode, Jason P. Woodbury sits down with Jesse Jarnow, host of WFMU's The Frow Show, to discuss his recent book, Heads: A Biography of Psychedelic America.

A decade-spanning look at the Grateful Dead and the culture the band spawned, it's one of our favorite books of the year, one that explores of underground . . .

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Idris Ackamoor :: The Aquarium Drunkard Interview

In the early 1970s, bandleader Idris Ackamoor formed the Pyramids, blazing a trail that united psychedelia, soul, and jazz, and began to travel the world. The group started in Ohio, at Antioch College, where Ackamoor studied under the tutelage of Cecil Taylor, before relocating to San Francisco, visiting far off lands in between. As the band ended, he launched a campaign of musical activism, Cultural Odyssey, but more than three decades after disbanding, Ackamoor reactivated the combo, releasing a new album, Otherworldly in 2012 and following it up earlier this year with We Be All Africans,  out via Strut Records.

If you're a listener of Aquarium Drunkard's Transmissions podcast, you heard our talk with Ackamoor, interspersed with fantastic sounds from his records. Presented here, an edited transcript of that conversation.

Aquarium Drunkard: Idris, it's a real pleasure to speak with you. I want to start off by discussing the title of your new album with The Pyramids. It's We Be All Africans. Can you tell me where that title came from?

Idris Ackamoor: We know some of the oldest skeletons or human remains have been found in Africa [and the title] relates to the fact that we are really all one human family. I was [writing] around the time when we, here in America, were going through a lot of situations and violence with the police. Police shootings of young black men. I was just so affected by everything that was happening in Ferguson and other locations [asking], "Why does this continue to happen?" It has something to do, a lot of times, with a racial issue that we have here in America, when, in reality, we are all one family. One part of the human family. So you know, that just was kind of a message of hope, a message of survival. That this is a very small planet we're living on, and we have to share it.

AD: In the liner notes you write that the album is exactly what you said, "a message of survival," and also of "renewal." With the events of Ferguson, [it feels like awareness of longstanding civil injustices] has reached a fever pitch. Did that message feel particularly timely to you?

Idris Ackoamoor: Oh absolutely, and I also think that it really extends really beyond the U.S.A. I was also thinking a lot about the immigration crisis, in Europe. We know now that it's an ongoing situation where many immigrants from Africa are trying to reach Europe to search for a better life. They're fleeing war, they're fleeing extreme poverty, but many times, they're not welcome. There's a tendency to look at them as "the other". It's the same situation with the Syrian refuge crisis. So yes, I think that it's really very timely.

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Teenage Fanclub :: Here

There's a case to be made for quality over quantity. Sometimes, bands with decades-long careers offer extensive output, pumping out album after album in an effort to appear relevant and hip. Then there’s Teenage Fanclub. Teenage Fanclub aren't a supply-and-demand kind of band, and it works in their favor. Formed in  1989, the Scottish group's output may have slowed in recent years --   it's been more than half-a-decade  since the release of their 2010 album, Shadows -- but that doesn't mean they've put music on the back burner.  Individually, they've been busy, devoted to  their equally wonderful side projects (work with Jad Fair, Euros Childs, the New Mendicants, Snowgoose, Lightships), content to take their time crafting a new Fanclub record, knowing that the wait will be worth it (and that their fans are patient ones).

So, exit Shadows, and enter Here.

Released September 9th  via Merge Records, Here is their third release for the label, recorded in three studios in three different countries (Raymond McGinley’s own home studio in Scotland; Vega in Provence, France; Clouds Hill in Hamburg, Germany) before being mastered at Abbey Road in London.

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Johnnie Frierson :: Have You Been Good To Yourself

How sweet it is. Johnnie Frierson was the brother of the great Wendy Rene and a fellow member of The Drapels, a group unearthed as part of Light In The Attic Records' 2012 Wendy Rene singles and rarities compilation. The label now gifts us with the holy word of Frierson — via their reissue of his  lo-fi, late 60s homegrown record, Have You Been Good To . . .

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Introducing Karl Blau

Washington State’s Karl Blau has been releasing music for the better part of two decades, much of which has remained under the radar. However, that may be changing.

On Introducing Karl Blau, his recently released covers record, we find the artist born again in the light of Cosmic American Music. Covering country and folk greats such as Tom T. Hall, Link Wray, and Townes Van Zandt, Blau rejoices, not in pastiche, but in the delicate . . .

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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 445: Jean Michel Bernard — Générique Stephane ++ Bongos Ikwue - All Night Long ++ Gabor Szabo - Caravan ++ Allen Hacksaw - Ski Bird ++ Bobby Hutcherson - NTU ++ Timmy Thomas - Why Can’t We Live Together ++ Serge Gainsbourg - Des Laid Des Laids ++ Annette Peacock - Pony ++ Shintaro Sakamoto - Dancing With The Pain ++ Arif Sag - Su Samsunun Evleri ++ Manu . . .

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Money Maker :: Studio One

Earlier this year, Yep Roc Music Group launched its massive Studio One reissue campaign. Founded in 1954 in Kingston by Clement "Coxsone" Dodd, the label practically defined reggae, releasing records by the biggest names in the genre: Bob Marley and the Wailers, Toots and the Maytals, The Skatalites, Lee "Scratch" Perry, Burning Spear, Culture, and dozens more. Working with total  access to Studio One's vaults, Yep Roc has over 150 reissues planned, and started in on it back in May with the release of The . . .

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Health&Beauty :: No Scare

There’s an enjoyably perplexing quality to Chicago trio Heath&Beauty’s new album, No Scare. Opening with “Back to the Place” – its title indicative of the sidewise humor which marks the songs of songwriter/vocalist/guitarist Brian J. Sulpizio – the record begins haltingly with distorted falsetto and light strums, before tangled guitar lines and a stuttering drum beat lurch in. It sets the template for what follows, a pull between cluttered beauty and lilting melodies. Along with keyboardist Ben Boye and drummer Frank Rosaly . . .

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The Palm Trees Fall Into The Sea: An August Mixtape

In recurring August fashion we offer the latest in a series of exploratory, atmospheric mixtapes. True to its seasonal home, like its predecessors, The Palm Trees Fall into the Sea exudes a humid, tropical ambiance. Below, dig into a thirty track experiment in openness across the spatial and temporal - and . . .

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Barney Kessel :: Live At The Jazz Mill 1954

Sometimes it’s all about right place, right time. When a 21-year-old Jack Miller camped out at the short-lived Jazz Mill night club in Phoenix, Arizona, for a few nights in late March of 1954, it was just to catch some sets by jazz guitarist Barney Kessel. Of course, with his Knight tape recorder in hand, a small mixer and three mics, he also had an ear for preservation, recording the sound of Kessel and the house band, the Jazz Millers, getting down. Miller scarcely could have known that 62 years later, his recordings would see official . . .

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Unfitting For The Lay People: Entheogens – The Gnostic Mass

During the 90s and the first part of the millennium there was a great UK based mail order psychedelic music store called the Freak Emporium. Their catalogs were as fun to read as   the music was to listen to. It would be impossible for all of the albums listed to be as mind-blowing as described, but one of the platters that lived up to the hype was a mysterious album called The Gnostic Mass by a group calling themselves The Entheogens.

The cover art features an alluring female hand beckoning the listener to come behind a set of closed purple curtains decorated with stars. Combined with the album's title it takes on the feel of an invitation to an ancient cult. But an invitation to what end? The flipside shows the band members in negative unexposed film images donning ceremonial robes, furthering the effect.

Entheogens, besides being psychoactive chemicals extracted from plants, were a temporary collective of Swedish musicians who delved in an adventurous yet melodic brand of Eastern-flavored psychedelia; mostly acoustically, using guitar, sitar, flute, organ, glockenspiel, bouzouki, and various percussion instruments. Guitarist and indie-label head Stefan Kery was ostensibly the de facto leader, releasing the album in a limited edition of 500 copies (re-released digitally a few years ago) on his Xotic Mind label. The imprint eventually morphed into Subliminal Sounds, still going strong today, and has the distinction of being the label that eclectic psych/folk rockers Dungen started on.

The Entheogens :: Io Pan

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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 444: Jean Michel Bernard — Générique Stephane ++ Stereolab - Diagonals ++ Atlas Sound (w/ Laetitia Sadler) - Quick Canal ++ Suicide - Cheree ++ David Bowie - A New Career In A New Town ++ The Only Ones - The Whole of Law ++ Cass McCombs - Bum Bum Bum ++ Shintaro Sakamoto - Mask On Mask ++ The Limiî±anas - 3 Migas . . .

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