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In an age of “one-click” accessibility to a plethora of media, it’s surprising that a film as salient as To Live and Die in L.A. is so difficult to find. While its current scarcity undoubtedly plays into the lore that surrounds it, To Live and Die in L.A. transcends the cult genre and revival house programming. It’s not only one of the most potent crime films ever made, but a unique time capsule of Los Angeles . . .
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Much like Bolinas itself, the poems gathered in On the Mesa exist in an unincorporated state—apiece and apart, at home and at ease, glad to be among each other. They reflect and transcend an era ripe with love, longing, domestic life, tempestuous sociopolitical events, growing ecological concern, burgeoning spiritual consciousness, and good old-fashioned small-town gossip . . .
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Over the last 60 years, guitarist Steve Cropper has helped defined the sound of soul, rock, R&B, and pop. That's his clipped rhythms in "Green Onions," that's him losing it onstage at Monterey Pop behind Otis Redding. He joins us for a discussion about his history and his new album, Fire It Up, and discusses the secret to fashioning a great R&B instro . . .
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Over the course of Live in Stuttgart 1975's 91 unbelievable minutes, Can emerges as the ultimate jam band—forget whatever negative connotations you may have with the term. Here, jamming isn't about technical flash or aimless noodling; rather, it's about the quest for collective ecstasy, for both the musicians and the audience . . .
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Sliding off the coast of California — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm Pacific, Wednesdays. No static at all.
34.1090° N, 118.2334° W . . .
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Director, musician, and artist Jim Jarmusch joins Transmissions for a wide-ranging talk about his movies, collaborators, and life in upstate New York, where he's at work on art and music nearly all the time. "I have a kind of slow rhythm to the way I talk, to the music I make, to the films I make . . .
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Recorded over the span of 48 hours in his adopted home of Holland, this is very much a Maston record, yet one as scanned through the collective lens of the Swiss prog-jazz quintet, L'Eclair . . .
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On this latest archival release, Boogie Shoes: Live on Beale Street, fans of Alex Chilton get a sonically perfect snapshot of the polished side of the artist—the side that loved playing funky-ass R&B with a tight backing band . . .
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One walks away from Lavender wondering if Calvin Love is Svengali, shaman, or Sputnik – the album is as comfortable on the astral plane as it is on the great plains of North America . . .
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Abdou El Omari: keyboardist, composer, bandleader, record store owner and hairdresser. Since we last wrote about the Moroccan musician back in 2016, his music has been reissued and gone out of print. But now it's back, courtesy of Belgium's Radio Martiko Records, compiled on three separate lps. Hypnotic, sinister funk. Snaking organ lines. Polyrhythms. Untethered vocals . . .
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Still unreleased, the full, unedited “Nine To The Universe” finds Hendrix summoning forces of unnatural transcendence that nearly explode out of the speaker. The extra 10 minutes offer some of the guitarist’s most unadulterated, bluesadelic soul and stretching improvisations, with bent-nail guitar rips and wah-wah wails from here to the cosmos . . .
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Riding the surf from the coastline of Byron Bay, The Babe Rainbow reach new creative heights on Changing Colours, the culmination of a recent prolific tear . . .
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Washed ashore from the sands of time … it’s an Underwater Peoples reunion. The New Jersey-based label and players, responsible for some of our favorite lo-fi pop of the late aughts, returns with “Won’t Tell Barbara,” a warbly and wholly humid slice of submerged cool featuring Family Portrait’s Evan Brody, Julian Lynch, and Alex Bleeker . . .
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Rich Ruth quietly released Calming Signals in the late summer of 2019, its nuanced charms carrying us into autumn and beyond. Based in Nashville, Ruth returns this month with the Where There's Life ep, a collection of meditative pieces written during the early months of the pandemic, and first recorded output since his debut . . .
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