Cut in 1967, "7 Heures du Matin" follows Jacqueline Taieb's morning as she fantasizes about Paul McCartney (though it's The Who's "My Generation" she riffs on) and spins Elvis records. While readily found on many a sixties Parisian girl-group and yé-yé compilations, might I recommend checking out Taieb's own become a member or log in.
Filmmaker Jennifer Maas dedicated the last half of the decade chronicling the Seattle soul scene of the 1970s. Her efforts culminate in the new documentary Wheedle's Groove. A project that began following a meeting with Light In The Attic Records founder Matt Sullivan (whose 2004 Wheedle's Groove comp inspired the project) we caught up with Maas to get the skinny on her film and Seattle's all but extinct soul scene. After the interview, be sure to stick around for Pastor Patrinell Staten Wright's cover of "Jesus Christ Pose," found on the Wheedle's Groove: Kearney Barton LP.
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Aquarium Drunkard: Seattle. Not the first thing folks think of when referencing old soul and r&B. Prior to your move to Washington from Austin were you hip to the history of this scene?
Jennifer Maas: No they don't, and neither did I. In fact when I first moved to Seattle, the demographic was so different from what I was used to that I just kept on wondering where everybody was. Seattle is really amazing in a lot of ways, but I would say that the culture from fashion to politics feels more uniform than other places I've lived. It is a great place to sort of plunk down and be pretty much unchallenged in your outdoorsy progressive indie-rock-loving ways. That's certainly not a bad thing, but it's true.
AD: What initially sparked your interest in making the documentary?
Jennifer Maas: I interviewed Matt Sullivan at Light In The Attic Records for a documentary I was making about the infrastructure of a working music scene. I was interviewing record labels, radio DJs, club owners, and music journalists. Matt was probably my 6th interview and as soon as he started talking about this compilation of Seattle soul music that he was about to release, I knew that was going to be my movie. The record release party was a couple of weeks later, and I enlisted a few friends to help me film the event. Five years later, I had a movie.
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Shortly after the release of the million-selling Nancy & Lee, Lee Hazlewood exercised his newfound clout with Reprise and headed to Paris to record a new solo album. Along for the ride were rhythm guitarist extraordinaire Donnie Owens and Wrecking Crew members James Burton, Hal Blaine, Chuck Berghofer, and Don Randi. If Hazlewood’s stream of consciousness notes on the back of the album are to be believed, they lived the life . . .
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I'm a firm believer that sometimes you find songs and sometimes songs find you.
This one in particular found me last week while in New Orleans---at about 10:30 am---in the midst of nursing a bloody mary. Comprised of the stuff that seems to exist in some sort of twilight netherworld (not unlike Santo & Johnny's "Sleepwalk") "Drume Negrita" is culled from become a member or log in.
Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST.
SIRIUS 193: Jean Michel Bernard - Generique Stephane ++ Deerhunter - Rainwater Cassette Exchange ++ Disappears - Gone Completely ++ Lower Dens - A Dog's Dick ++ White Denim - I'd Have It Just The Way We Were ++ Eddie The Wheel - Nearsayerfive ++ Crystal Stilts - Precarious Stair ++ The Black Angels - Black Grease ++ Kurt Vile - Freeway ++ The Glands - I Can See . . .
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The reward of sticking with your favorite local acts as they find their voice is both thrilling and challenging. Being so, I'm happy to say Los Angeles's So Many Wizards have continued to craft their sound, perfecting their enigmatic blend of pop, rock, ballads and zany nuggets into a cohesive whole. While the entirety of their brief body of work has been enjoyable, on their new 7”, the maturity and honed sound is evident.
As a vocalist, Nima Kazerouni has grown completely comfortable in his voice, seamlessly moving from . . .
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Our guest DJ series returns this week with a second installment from our compadre Turquoise Wisdom. Currently based in Los Angeles, Cowie can be found DJing, collaborating with Rodarte and most recently working with producer Sunny Levine. Mixed straight from wax, the following collection is a must-have.
Hackamore Brick - Reachin'Al Stewart - In BrooklynThe Everly Bros - Lord Of The Manor (45 mix)Dory Previn - Lady With The BraidColin Hare - Underground . . .
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I was hipped to Michael Kiwanuka in Paris a couple of weeks back with only the caveat of "you're going to fucking love this." It's true, I do. I'll spare you the laundry list of influences only to say that it's about time someone picked up the torch from Terry Callier and Bill Withers. Highly recommended.
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Sometimes you need an album that kicks down the fucking door. This is one such album.
A little history: Electric Mud was produced by Marshall Chess and released in 1968 in part to rein in a new audience weaned on the burgeoning wave of psychedelic rock whose progenitors both aped and worshiped at the temple of Muddy Waters and his blues brethren. The results, depending on your age, vantage point and general attitude was . . .
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We need a myth. So insists Will Sheff on the track of the same name, and he’s right. We need a myth, a narrative, something upon which to plot the flags planted in each new territory of our understanding. Some way to compare ‘this’ to ‘that.’ A way of understanding the world, even when the world seems to frustrate our understanding. “We Need a Myth,” one of many high points on become a member or log in.
Megafaun's Phil Cook has had another run in with nature. During the recording of his 2009 eponymous debut he battled a violent thunderstorm. This time around, "Mother Nature" has locked him in a room and asked him for more. With guitar, banjo, and dobro in hand, Phil Cook and His Feat offer up Hungry Mother Blues.
But before the first note is heard there's the matter of the collage style cover art . . .
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Aquarium Drunkard favorite Richard Buckner is one of America’s greatest living singer-songwriters, but he’s been awfully quiet for a while now. We recently caught up with Buckner, prior to his show, in the parking lot of The EARL in Atlanta. Buckner gave us the skinny on his silence and the lowdown on the his new record, Our Blood, due out August 2nd on Merge Records.
AD: It’s . . .
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Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST.
SIRIUS 192: Jean Michel Bernard - Generique Stephane ++ The Shaky Hands - Why And How Come ++ Ganglians - Jungle ++ The Bicycles - B-B-Bicycles ++ Monster Rally - Honeymoon ++ The Oh Sees - Tidal Wave ++ The Fresh & Onlys - Grey-Eyed Girl ++ Crystal Stilts - Precarious Stair ++ Lower Dens - A Dog's Dick ++ Unknown Mortal Orchestra - Thought Ballune ++ Eddie . . .
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When Fleet Foxes EP and, quickly thereafter, self-titled long-player were released in 2008, it was easy to presume that maybe that was it–that their debut would be the highest note they’d hit. Folk harmonizers have been an anchor of popular music as we know it for decades, but recent history hasn’t had a great place for them. Folk has a difficult time reaching beyond its niche audience, and Fleet Foxes reside in a subset of even that. So, it was through an otherworldly masterstroke that . . .
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The Sea and Cake has been at it for 20 years. In that time they've managed to create an arsenal of fantastic and progressive jazz-pop records. What's interesting is that their body of work actually resembles very little compared to what we experience as day-to-day music fans. You don’t hear new acts name-checking The Sea and Cake as an influence. Probably because it requires a great deal of physical skill, knowledge of instruments and the ability to connect with like-minded musicians who have . . .
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