Fugazi :: Instrument. Documentary film.

I rediscovered the 1999 Jem Cohen Fugazi documentary,  Instrument, while going through an old box of DVDs over the weekend. Watching it for the first time in a decade, and unlike most things nostalgia related, I came away thinking 'yeah, I'm glad I was there for that in the 90s.' This clip of "Shut The Door", culled from the doc, expertly captures the essence of why I caught this band live every chance I had back then . . .

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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.

Sam James Velde guest DJs during hour two.

SIRIUS 287: Jean Michel Bernard — Generique Stephane ++ Mac DeMarco - Baby's Wearing Blue Jeans ++ Twin Peaks - Ocean Blue ++ Carnivores - Pillow Talk (w/ Atlas Sound) ++ Deerhunter - Rainwater Cassette Exchange ++ The Peoples Temple - Blinding City ++ Spacemen 3 - Feel . . .

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The Men :: Live At WFMU

Some corners still wrestle with what exactly The Men are up to; what to make of the slow march of Americana with a capital Tom Petty creeping into their tracklistings. Live, their plans feel tacked to a different path. The Men deal in a brash form of art -- there's no apologies in their short and varied career. Last year at SXSW, the band ripped between current and future material. Guttural or shouted, scales or licks, every ounce of what makes their records so intimate in their softest and fiercest moments is on display. The Men have their shit on lock - even when boozy or doozy, there's always a chance that this  is the definitive recital.
And it's a thrilling thing to witness, to have documented. The crisper, official-er Live At WFMU, shows them crafting deliberate guitar shreds, drums like a controlled demolition, complex yet measured bass -and   vocals screaming "no, we're still some kind of punk band, but we don't even know what kind specifically..." No matter, we're in it for the ride.   words/ b kramer
MP3: The Men :: Oh Yoko

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The Peoples Temple :: More For The Masses

Gut punch intro with proper soul-moan grunts, the title track to The People's Temple 2012 joint is a swift kick to wake everyone the fuck up. While the debut was good, Masses does it one better. Howling psych-rock still riffing on all our favorite sixties touchstones, it's a headier, funkier, brew this time around. It also features the best homage to the Velvets . . .

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The Howling Hex :: The Best Of The Howling Hex

With little fanfare, Neil Michael Hagerty moved to Denver early last year, and began playing out at various Mile High City clubs with a drummer and bassist in tow. While I've only kept limited tabs on Hagerty's post-Royal Trux activities, I was definitely curious to see what the guy was up to. And it was pretty weird. As his rhythm section laid down mind-numbingly repetitive Norteî±o beats, Hagerty chanted well-nigh indecipherable lyrics -- something about farolitos? -- interrupted by splatters of diamond-sharp fuzz guitar . . .

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Apple And The Three Oranges :: Curse Upon The World

This shit is so nasty. Just spittin'. Egon and the Now Again Records crew are indeed doing yeoman's work bringing us a platter full of this mess on the Apple & Three Oranges compilation, Free And Easy. Give the drummer some.

MP3: Apple & The Three Oranges :: Curse Upon The World

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Dur Dur Band :: Volume 5 (1987)

Dur Dur Band was one of Somalia's last great party bands, a group that, at its peak powers, was 12 members strong and performed a high energy tincture of cross-cultural funk. The Horn of Africa's sound filtered through the spritely, synthy pop music of the '80s, Dur Dur's dance music was made to bump in the hotels and soccer stadiums that played host to Mogadishu's music scene. The band grew very popular during the final years of communist dictator Mohamed Siad Barre's reign . . .

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Golden Grrrls :: S/T

Like seemingly all Glaswegians of the past twenty years, Golden Grrrls pen cloudy, painfully melodic peacoat pop. Sure, the name’s unfortunate (it started as a joke, as these things often do), but it’s also a fairly tidy summary of the way the trio sandblast their melodies on their endlessly playful and playable self-titled debut. Bedroom production and half-distorted guitars rub some of the shine off of co-leaders Ruari MacLean, Rachel Aggs, and Elidih Rodgers’ pop sensibility, and MacLean sings with a kind of foggy, distracted enthusiasm . . .

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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 286: Jean Michel Bernard — Generique Stephane ++ Twin Peaks - Stand In The Sand ++ The Peoples Temple - More For The Masses ++ Phosphorescent - Song For Zula ++ Songs: Ohia - Farewell Transmission ++ Magnolia Electric Co. - The Night Shift Lullaby ++ Magnolia Electric Co. - The Dark Don't Hide It ++ Bonnie 'Prince' Billy - Master & Everyone (Live) ++ Bonnie 'Prince . . .

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Phosphorescent :: Muchacho

Believe that album cover for three minutes and twelve seconds. That’s how long it takes for Matthew Houck, the Alabama native better known as Phosphorescent, to finish the high-harmonic tilt of “Sun, Arise! (An Invocation, An Introduction)” and drain it into the aching, pained, sublime “Song for Zula.” If you’ve been following Houck’s exploits for long enough, “Zula” is only the next piece of evidence in the long case to be made for his specific genius: Very few people write, much less perform, about heartbreak with this much conviction. “Honey, I saw love,” Houck sings. “It . . .

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Lee Hazlewood :: Trouble Is A Lonesome Town

For years, one of my rituals when hitting up record stores was a quick visit to the Lee Hazlewood section -- alternately located, depending on the shop, in 'country', 'rock', or the most perplexing, 'oldies'. You could occasionally find old, beaten down, used vinyl or foreign-pressed (often shoddily produced) import CDs. Other than that locating Hazlewood's music was often left to best-of compilations -- and typically just the Nancy Sinatra collaborations at that. Even finding Hazlewoood's music via (legal) digital outlets has proved difficult. But there is good news…

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Swamp Dogg Speaks :: The Aquarium Drunkard Interview

Jerry Williams Jr. didn’t adopt the handle “Swamp Dogg” in the early ‘70s in order to confuse, obfuscate, or mislead anyone. To hear the man tell it, he took on the name because it was imperative to do so. “It was born out of a necessity, to find myself, my identity,” the 70-year-old singer says via phone from his home in Southern California. His voice is pitched high, laced with a strong Southern accent that betrays his Georgia roots.

“I didn’t know who Jerry Williams was for a while. That’s when I started having a lot of acute anxiety. Here I had agoraphobia and claustrophobia, at the same motherfucking time. Swamp Dogg wasn’t afraid of anything, where at that time Jerry Williams was afraid of his shadow. I knew Jerry Williams was still the motive for Swamp Dogg; it was like putting a Chevy motor in a Rolls-Royce. That’s what made it run. It’s not really a Rolls, you know? It’s a Chevy that looks like one.”

This month sees the re-release Swamp Dogg’s gonzo soul classics Total Destruction to Your Mind and Rat On!, via California-based label Alive Records. Originally released in 1970 and ‘71 by Canyon Records and Elektra, respectively, the records exhibit the organic change from “Little” Jerry Williams — who’d recorded R&B platters and worked for a short stint as a staff producer at Atlantic — into the wild and feral Swamp Dogg.

MP3: Swamp Dogg :: Creeping Away

Total Destruction’s title track roars with amplified funk boogie, with guitarist Jesse Carr and drummer Johnny Sandlin providing fuzz and a gutbucket beat. The song establishes Swamp Dogg as a character on the same wavelength as rock’s avant garde, with gritty, hard-edged melodies, and a clear admiration for blue-collar country. But it’s not all bombast: Rat On! delivers a couple exquisite weepers, like the tender Bee Gees cover, “Got to Get a Massage to You” and “Predicament #2,” where Swamp mourns a bad situation: he’s got a great wife, but he’s also got a great mistress. Why can’t one woman be both?   “Back then, people were like, ‘Why would someone call themselves a dog?’” he laughs. “People would come down on me because I named myself Dogg. People would say, ‘Why would you name yourself that? What’s your real name? I’m not going to call you that! I’m going to call you by your real name,’ and I said, ‘You can call me by Kiss-My-Ass, you know? I am Swamp Dogg, you motherfucker, and that’s it.”

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Chris Forsyth :: “The First Ten Minutes of Cocksucker Blues”

Even though Cocksucker Blues, Robert Frank's legendary film of the Rolling Stones circa 1972, is routinely referred to as a "documentary," that's not quite accurate. Frank himself tips his hand right in the opening moments: "Except for the musical numbers the events depicted in this are fictitious. No representation of actual persons and events is intended." Of course, this statement may be after-the-fact ass-covering, due to the various illegal activities taking place on-camera in Cocksucker Blues. But i . . .

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Neil Young & The Santa Monica Flyers :: Manchester, 1973

If we've learned anything from the music of Joy Division and The Smiths, it's that the good people of Manchester, England, can handle bleak, uncompromising music. They were certainly given a bracing shot of it on this autumn night in 1973, as Neil Young opened a seven-date tour of the UK. With the Eagles opening up, the crowd undoubtedly anticipated an evening of laid-back country rock a la Young's platinum Harvest, which had been released a year and a . . .

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Scratch The Surface :: The Last Of The True Believers

(Album artwork: Does it indeed affect our listening experience, and if so, how? Scratch the Surface takes a look at particularly interesting and/or exceptional cover art choices.)

I got into Nanci Griffith in high school, but I didn't talk about it with anyone much. Loving Nanci was kind of like my love for all those sitcoms from the 50s and 60s that I watched reruns of while growing up - it just wasn't that hip. Her music always seemed to emanate from some time-capsuled era where things were just a little bit simpler. What I didn't realize at the time was that Griffith hailed from the Austin, TX music scene of the 1970s - a hotbed of the country revivalist movement and the eventual alt-country community. A lot of the music from Austin in that era was reaching back to an earlier version of country and folk. It just happened that Griffith's music was on the sweeter, softer end of that spectrum.

Her fourth album, The Last of the True Believers, was released in 1986 and the album was her last for Philo/Rounder as it garnered enough critical and commercial support to get her a deal with MCA. It was also home to "Love at the Five and Dime" which would be taken to number three on the Billboard country charts that same year by Kathy Mattea and was also the foundation of the cover art of the album.

Woolworth's is the central setting of "Love at the Five and Dime" and the cover photo of The Last of the True Believers is taken outside of a Woolworth's store. The photo is set up like a triptych, with two couples on either side of Griffith in the center, and either side representing different eras outside of the same location. To the viewer's left is a man (John T. Davis, then a current music writer for the Austin American-Statesman) dressed in certifiable 80s garb (sport coat, tie and shirt, jeans) talking with a woman in red, sparkly heels, white socks, fishnet stockings, a black skirt and an Austin Moose Lodge jacket. The man and woman are re-enacting the rough story of "Lookin' for the Time (Workin' Girl)" from the album, a song told from the vantage point of a prostitute trying to ditch a john who's wasting her time while she's working the corner. Behind them, the Woolworth's store window displays its Christmas wares and the signage in window points to its 80s origins as well.

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