We're gonna stay on this 90s hangover tip for a minute. While I'm a fan of the majority of the Ween output, it's the early lo-fi stuff through The Mollusk that I return to on the regular. Dean and Gene were clearly inspired by, and doing it for, the Boognish. That and several half dozen . . .
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(Sevens, a recurring feature on Aquarium Drunkard, pays tribute to the art of the individual song.)
The shifting landscape of commercial music has forced the industry to reconsider how to best deliver its music to an audience. It has also, inadvertently, breathed new life into songs and artists that were past their heyday. Nick Drake's estate owes his modern rediscovery to Volkswagon; M.I.A.'s "Paper Planes" made a huge splash in the . . .
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From the clatter of the Greenwich Village 60s folk scene came a voice that was inspired, authentic, and extraordinarily deep. Fred Neil had one of those unmistakable voices, a baritone that could rumble your brain and leave cracks in your spine. Add to that the skills of one of the better blues-folk songwriters; his songs were covered by Karen Dalton, Harry Nilsson, Jefferson Airplane... anybody who knew their stuff . . .
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Covered in kudzu and swathed in a blanket of humidity, spanish moss, feedback and reverb exists Futurebirds. Here, at this intersection, we find a synthesis of the two extremes of Neil Young's yin and yang. It's at this crossroads, on this plane that Futurebirds meld the sweet, lilting, pedal steel and harmonies of the Stray Gators with the raucous, buzzing, distortion of Crazyhorse.
Futurebirds debut, become a member or log in.
(Diversions, a recurring feature on Aquarium Drunkard, catches up with our favorite artists as they wax on subjects other than recording and performing.)
Bill Baird and Sunset have steadily become one of my favorite exports out of Austin, TX. As prolific as he is talented, Baird and co. seemingly, and quietly, release a record, 7", EP, etc every several months on Austin's own burgeoning Autobus Records. The label is poised to release not only a new Sunset LP (Loveshines but The Moon Is Shining Too) but a Baird solo album as well (Silence!) After the jump Baird takes us through the highly personal, and equally mysterious, process that is songwriting.
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The fact is, I really want you to like Menomena. In particular their latest, and third LP, Mines. I could go on and on about the songs, the amazing composition, the intricate sounds and layers they incorporate, about the fact that this is a band that uses a computer program one of the members invented himself and not just the setting on a . . .
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Not sure how I had never seen this gem before (high five, Reid). Like a lost Jonathan Richman project from another dimension, Son Seed (?) kicks out the jams with "Jesus Is My Friend." So many "special" moments...too many to go into here. Wow.
+ Download DRM free music via eMusic’s 35 free MP3 no . . .
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Our weekly two hour show on SIRIUS/XMU, channel 26 (SIRIUS), and channel 43 (XM), can now be heard twice, every Friday — Noon EST with an encore broadcast at Midnight EST.
Today I'm airing, in its entirety, Scottie Diablo's THE CRAP OUT, a mixtape which you can download become a member or log in.
I heard "Three Sisters," the first track off J. Tillman's forthcoming LP, Singing Ax, last Spring while sitting in Josh's van on the side of Glendale Blvd. It was just after dusk when the ghost of Steve Albini's old drum machine, from the Big Black days, came crunching through the speakers midway through the track. Consistently stark, Ax is some next level shit in the Tillman catalog. This . . .
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I hadn't heard this in years. Pulled out a hard drive today in order send this track to a friend as we had just been discussing Gillian Welch's Soul Journey LP from 2003. The following cover of "Revelator," off Welch's album of the same name, has a Crazyhorse feel with Ryan Adams leading the charge backed by David Rawlings and Welch during . . .
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(AD's m. garner, exiled in Montreal the past two years, takes in a Fool's Gold show in the north country.)
It’s been hot this summer in Montreal. We’ve broken into the triple digits with the heat index (that’s the upper thirties if you keep score in Celsius), and a slick blanket of humidity coated the streets for much of July. There was a rush on fans. The metro, like most people’s homes, isn’t air-conditioned; people have driven around aimlessly, choosing . . .
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Wanda Jackson is, and shall always remain, the undisputed queen of rockabilly, but Sparkle Moore's incredibly brief career will always hold a special place in the imagination. Her entire vibe is surreal. If she had not existed, David Lynch and Angelo Badalamenti would have surely created her, if only for a picture or two. Releasing just a handful of sides on Fraternity Records in the fifties, Moore's delivery, cadence, phrasing and lyrics were uniquely her own---she also rocked a pompadour worthy of become a member or log in.
Certainly one of the classic country-rock records, Lost In The Ozone was Commander Cody's first disc released back in 1971 (MCA). The original group formed sometime around 1967 in Ann Arbor, Michigan. Eventually they would relocate to San Fransisco and become a major live phenomenon. The group were led by pianist George Frayne (Commander Cody), vocalist/harp player Billy C. Farlowe, pedal steel player . . .
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Love both the intro and outtro here. Owns the studio version. Filmed for Old Grey Whistle Test, London, England. Qu'est Que C'est. Fa fa fa fa fa fa fa fa fa far better . . .
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Fellow Elvis weirdos know that sometimes you just have to track down every conceivable version of the man's hits. So it was with Jackie DeShannon's cover of the Leiber/Stoller penned "Trouble" made famous by the king in his film King Creole, and seriously revamped in the '68 Comeback Special. A very early entry in DeShannon's career, the track was efficiently used this past week during the . . .
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