James Elkington and Nathan Salsburg transmute and transform Neneh Cherry's 1988 smash hit "Buffalo Stance" into an idyllic stroll through imaginary countrysides . . .
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After the amiable lo-fi debut If I Am Only My Thoughts, Loving makes a self-proclaimed "sonic leap" on sophomore stunner Any Light. Of course, this seamless transition to the studio is a credit to the Canadian duo's charmingly unwavering formula. With delayed vocals that don't kick in until nearly two minutes, the gentle acoustic strum of the title track sets the perfect tone for this remarkably intimate collection of songs . . .
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Had The Carnegie Hall Concert been released in 1971 when it was originally commissioned and recorded by Impulse as a double live LP, it would undoubtedly rank among the all-time holy grails of live jazz, no, live music, period. But nothing happens before it’s time, and we are unbelievably fortunate to be graced with the revelation of Coltrane’s performance in the here and now. Left in the vault for decades and only partially bootlegged, The Carnegie Hall Concert documents Alice Coltrane cresting a creative peak which marked the end of a cycle of suffering and a rebirth . . .
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Outré California. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W . . .
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Her voice comes from far, far away. From Saint Helena, her grandmother’s home, a tiny island thousands of miles off West Africa, Napoleon’s grave. It comes from the Philippines, where her mother was born. It found a home in Cape Town, where she met her future husband, Abdullah Ibrahim, and became a foundational mother of one of the most vibrant jazz scenes in the world . . .
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This week we're welcoming Elizabeth Nelson of The Paranoid Style to the show for a conversation about music, writing, ZZ Top, and her new album, The Interrogator. Packed with pub rock charm, punk verve, and rootsy, wide-eyed songwriting, the album finds Nelson and her collaborators, including partner Timothy Bracy and Peter Holsapple of The dB's, cranking the amps in service of sharp, literary rock & roll. Sitting down with host Jason P. Woodbury, Nelson explores her dual roles as a writer and artist, details her unique and optimistic approach to posting on X (formerly Twitter), and generally indulges . . .
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As mentioned in a recent Aquarium Drunkard Book Club, some of the most entertaining parts of Thurston Moore’s Sonic Life memoir come during his teenage years, way before Sonic Youth was even a twinkle in his eye. A Portrait of the Artist as a Young Fan? From the suburbs of Connecticut, Moore made countless trips into NYC to soak in the punk/CBGB/Max’s Kansas City worlds, catching shows by The Ramones, Suicide, the Dead Boys, Sid Vicious … and Patti Smith, of course. Thurston paints an evocative portrait of this New Year’s Eve blowout, which doubled as . . .
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As the Cold War cooled into something like an uneasy truce, songwriters like Warren Zevon, David Bowie, John Cale, Bob Dylan, and Steely Dan's Donald Fagen addressed world events and the cultural malaise of the period, constituting Late Cold War style in their vivid songs . . .
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For more than fifty years, Terry Allen has navigated an artistic path that bears little resemblance to the flat straightaways of his Lubbock youth. There’s a good chance he’s your favorite artist’s favorite country singer, or your favorite country singer’s favorite artist. Enter Truckload Of Art: The Life and Work of Terry Allen, Brendan Greaves’ 500+ page epic released on Hachette Books on March 19th. We sat down with Greaves to discuss this exhilarating investigation of a life spent in the act of constant creation . . .
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Rosali joins us for a discussion about her fourth full-length, Bite Down. It's her best record yet and it embodies the healing power of art: “Music and songwriting have always been a spiritual healing practices for me. I think it’s trying to help people feel something, to have a connectedness in our humanity . . .
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Freeform transmissions from Radio Free Aquarium Drunkard on dublab. Airing every third Sunday of the month, RFAD on dublab features the pairing of Tyler Wilcox’s Doom and Gloom from the Tomb and Chad DePasquale’s New Happy Gathering. This month, Chad offers up a misty portal into spring — orchestral pop, psychedelic folk & earthy jazz; then, Tyler delivers some Stereolab-ish situations, from solo efforts and side projects to similarly styled space age bachelor pad music. 4-6pm PT . . .
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Morris Belknap's lone 1976 LP Jesus Saves was reissued last year by the dedicated crate diggers at cult Arizona label Skull Valley Records. It oozes honesty and earnest, faithful fervor. Though the album is informed predominately by the sounds of blues, country, and folk, "My Lost Friends" carries in it some nascent Velvets-like quality . . .
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Four years after the brilliant Mind the Neighbors and seven after the highly-praised They Sell Doomsday, World of Wonder brings back Ryan Power's multi-genre kaleidoscope of kosmische sensibility, toy aesthetics, and chamber pop sublime. It closely follows Fievel is Glauque's now-famed brand of indie jazz psychedelia, with broken and demented (and yet perfectly refined) melodies going through unexpected harmonic progressions, modulating right before the phrases can find a conclusive stage . . .
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Oisin Leech is an Irish singer-songwriter who had his brush with commerce with the 1990s band 747s and a more ruminative sort of acclaim with the Lost Brothers, his folk duo with Mark McCausland “October Sun.” Cold Sea is his first solo album, and while you might miss the Lost Brothers’ shadowy harmonies on it, he is not exactly alone.
Indeed, on the translucent opener “Cold Sea,” both producer Steve Gunn and long-time collaborator M. Ward lend a hand, and later, Dylan bassist Tony Garnier turns up for some lovely acoustic low-end . . .
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Katie Crutchfield hit an artistic and commercial high water mark in 2020 with the full-throttle country rocking St. Cloud, an album which doubled her audience and established her as a significant force in Americana music. Tigers Blood comes four years later, past a global music industry shutdown, a world health crisis and Crutchfield’s own battle to get sober. If anything, it’s a bigger, brighter album, its rough, confessional poetry charged with triumph, its instrumental sound bolstered by a full complement of collaborators . . .
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