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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 466: Jean Michel Bernard — Générique Stephane ++ Sun Ra - We’re Living In The Space Age ++ Honeyboy Martin & The Voices - Dreader Than Dread ++ Johnny & The Attractions - I'm Moving On ++ Andersons All Stars - Intensified Girls ++ King Sporty - DJ Special ++ Freddie Mackay - When I'm Gray ++ Hopeton Lewis - Sound And . . .

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Abadane :: Freedom (Hourya)

The enduring enigma of the unknown. A cornerstone of various compilations (both authorized and not) focused on subrosa 70s North Afican folk and pop, Abadane was a short-lived Algerian outfit -- "Freedom (Hourya)" is their legacy.

1970's Algerian Folk And Pop by Freedom (Hourya

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Mor Thiam :: Ayo Ayo Nene (Blessing For The New Born Baby)

In 2008, via the first volume of Jazzman Record's Spiriual Jazz series, I stumbled upon Senegalese drummer and bandleader Mor Thiam's "Ayo Ayo Nene." Cut in 1973, the track was originally found on Thiam's Drums of Fire -- a record that was beyond scarce. Until now. Jazzman has just reissued the LP. I cannot possibly spit enough hyperbolic praise here to do the track justice, so . . .

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The Beans :: Spill The Beans

With flowers tucked behind their ears and thumbs pointed West (cue music...) the youth of the mid-60s were hip to turn on, tune in and drop out. The high desert residents of Phoenix, Arizona were no strangers to the unearthly vibrations that were coming from the Bay Area. Local freakazoid Bill Spooner, later of The Tubes, was quick to channel that energy into a series of early psychedelic outfits including The XL’s, Oat Willy and the Dream Band and local celebrity Mike Condello’s aptly named band Condello, who . . .

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Bash & Pop :: Anything Could Happen

26 years ago, when the Replacements called it quits the first time, it was hard to know what to expect from any of the individual members. For a brief moment though, it was Tommy Stinson who looked like he might best carry the band's torch. 1993's Friday Night Is Killing Me by his band Bash & Pop still holds up as maybe the most rollicking and rocking of any post-Replacements . . .

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Catching Up With Foxygen: The Aquarium Drunkard Interview

In a relatively short period of time, Foxygen has managed to please, vex and elude a lot of listeners. Needlessly so, it seems. Over the course of a afternoon in conversation at member Jonathan Rado’s Los Angeles home, what emerges is that in spite of anyone’s desire to nail down outside influences, Foxygen is about two lifelong friends being on the same page. Almost four years since we last caught up with them, the duo of Rado and Sam France expounded on the conception and execution of their new album, Hang, how they’ve evolved as performers and record-makers, and the misconception that annoys them still.

Aquarium Drunkard: In 2012, when first speaking with us about Take The Kids Off Broadway, you were already plotting the release of We Are the 21st Century Ambassadors of Peace & Magic, but you also said at the time that after that you planned to release a record called … And Star Power and then one called Hang. And now, here we are. So…how long has this record actually been gestating?

Sam France: Well, I guess it’s been a long time.

Jonathan Rado: It’s been probably since around that time. I would say that is pretty much around the time we came up with the title and the idea. Because we had recorded that song [“Hang” from … And Star Power] around that time, three-and a half years ago — the version that’s on that record, before we’d even begun recording for that record. And we knew then that we wanted to call an album Hang as well. That was a fresh idea when we brought it up to you.

AD: So how didactic was that planning? Did that mean that you sort of created a schedule, “we’re gonna do this, then this, then that” or was it more of a fun idea to kick around?

Sam France: Kinda like it’s our schedule, that’s how we do stuff.

Jonathan Rado: We’re lucky we were able to, we always planned on doing it.

AD: From then until the actual recording for this record, how did your vision and conception change?

Jonathan Rado: We actually wrote the songs back then — we had the idea that we wanted to do Hang and that we wanted to do it with an orchestra — that was always the idea, to do it with big arrangements and have it be a complete piece of music. The 21st… album hadn’t even come out yet, so we recorded that, then we started making … And Star Power and focused really intently on that. A lot of these songs were really written during or before Star Power. We had the sound, conceptually, sketched out already.

AD: One of the things that came up when last spoke was that the material you were releasing and performing then had actually be completed for a while, and whether you were already over-it in a way. It seems like you’re still in that boat — it’s not like you could say you’ve had some nice down time in between records — you’re doing the same thing again. How does that feel?

Jonathan Rado: We’re constantly thinking ahead. We’re slightly more caught up than we were at that point. We’re already gestating the next couple of records, the next album at least is starting to form. At that point, back in 2012, we were anxious, we had too many ideas. Too many ideas to even begin to start to make. We’ve gotten a bit older and have caught up with ourselves, we have a more natural schedule but we’re still ahead of the game a little bit.

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Banana :: LIVE

Composer Josiah Steinbrick suggests that LIVE, the new four-song EP (mini-LP, maybe?) by his Banana ensemble is "For those in search of a bath, a rinse, a departure, or an expansion." Who among us couldn't go for that? Recorded live on reel to reel tape for airing as a special program on Dublab, LIVE taps into Steinbrink's inspirations. The recordings bubble with Steve Reich-style repetition, employ Saturnian melodies inspired by Sun Ra, and . . .

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Shirley Collins :: The Aquarium Drunkard Interview

Including Shirley Collins' album Lodestar in our 2016 Year in Review feature, we wrote:

"Returning with her first recording in 38 years, song collector, treasurer, and interpreter Shirley Collins unites ancient English folk ballads to Cajun reveries, presenting even Lodestar’s 16th century material resolutely in the present tense. She finds dark humor and pathos in these songs, her voice, regained after years of disuse and sickness, sounding warm and present. Surrounded by fiddle and hurdy-gurdy, Collins presents the traditional as avant-garde and her relationship to these songs goes far beyond singer into the realm of inhabitation."

At 81, Lodestar finds Collins in fine form. It connects to her earliest works -- which helped spark the English folk revival -- but is rooted in the present. AD spoke with her about putting the record together.

Aquarium Drunkard:  Lodestar is a captivating record. You’ve long struggled with dysphonia but began singing again in 2014, at the behest of David Tibet of Current 93. When and how did it start to feel possible for you that you’d make another record?

Shirley Collins: Well I guess after the gig at Union Chapel, London in February 2014, when David Tibet persuaded me to sing after years away from the live stage. David proposed to make an EP of the two songs ("All the Pretty Little Horses" and "Death and the Lady"). But there were other songs I wanted to sing, and with a bit of encouragement, and an offer from Domino, I went ahead.

AD: How did it feel recording again?

Shirley Collins: Anxious at first, but then I really started to enjoy the process as I was working with such good and understanding musicians. Also, the technology had caught up with me, and we were able to record at home. In a way, it was like making a field recording.

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Broadcast :: Black Session (La Maison de la Radio: Paris, France)

If you never had the pleasure of seeing Broadcast on tour, particularly in their early years with keyboardist Roj Stevens and guitarist Tim Felton, then this is for you. Actually, this is for everyone. It’s a dark and saddening time for fans of the band since the recent and sudden passing of singer/multi-instrumentalist Trish Keenan. But I can’t think of a better way to celebrate her life than to spread the group’s music around to as many . . .

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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 465: Jean Michel Bernard — Générique Stephane ++ Ryo Kawasaki - Raisins ++ Herbie Hancock - The Twilight Clone ++ James Mason - Sweet Power of Your Embrace ++ Talking Heads - Double Groove (Outtake) ++ David Bowie - Fashion ++ The Headhunters - If You’ve Got It, You’ll Get It (AD edit) ++ CAN - All Gates Open ++ Cate Le Bon - Rock . . .

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Gold Star :: Sonny’s Blues

Gold Star is Marlon Rabenreither. On his forthcoming lp, Big Blue -- named after the ramshackle Hollywood home where he produced and recorded the album -- Rabenreither shines and redefines the sound of his last two efforts. A Los Angeles native, the resulting album is an autobiographical work as indebted to writers Fante, Baldwin and Chandler as it is Neil Young, Leonard Cohen and Wilco. Out in March via Autumn Tone, this is the first taste . . .

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Hart Valley Drifters :: Sitting On Top Of The World

“My name is Jerry Garcia. I play banjo on the old-timey songs and guitar on the bluegrass songs. And do a lot of lead singing too. Which I am not proud of.”

With a bit of self-deprecation and a guffaw we pay witness to the earliest known studio artifacts of Jerry Garcia. A scant 20 years old at the time, Garcia's group (the formerly named Thunder Mountain Tub Thumpers) included future Grateful Dead lyricist Robert Hunter (on upright bass) and New Riders of the Purple Sage co-founder David Nelson (on guitar . . .

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The End Is At Hand: Volumes 1-3 / A Homemade Psych Compilation

Our collaboration with BlackForrestry continues. Witness - The End Is At Hand: Volume Three. Similar to volumes one and two, this homemade collection rounds up super-obscure, often private press, outsider psychedelic guitar and folk music from the 60s and 70s…all with the underlying theme of the Jesus People Movement.

During the early 1970s the Movement gained a certain amount of notoriety when mass media (Time and Life magazines) featured iconic photographs depicting throngs of hippies getting baptized . . .

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Neil Young: Don’t Be Denied (BBC Documentary)

2009 BBC documentary tracing Neil Young's career, culled from three hours of interviews shot in New York and California. Featuring  Stephen Stills, Graham Nash, David Crosby, Nils Lofgren, etc, the doc unearths previously unseen performance footage from Young's personal archives.

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Julian Lage & Chris Eldridge :: Bone Collector

Debussy famously stated "Music is the space between notes." Pioneering sound poet  Joanna Brouk suggested, “If you want to know where my music came from, it was silence.”   Lisa Simpson, seated at the Jazz Hole nightclub in downtown Springfield, explained to a fellow patron that the key to understanding music  was listening to the notes not played. ("Pssh, I can do that at home.") Point here is: things happen in the spaces between phrases. The action's in the space provided.

Guitarists Julian Lage and Chris Eldridge are highly accomplished players. On his 2016 album Arclight, Lage -- a child prodigy known for his work with Nels Cline -- subtly blended country & western and jazz. Eldridge is no slouch either. A full-time Punch Brother, he's worked with artists like Paul Simon, Justin Timberlake, T-Bone Burnett, and Elvis Costello. But on their second full-length collaboration Mount Royal, there's no attempt to outplay or one-up each other. The duo understands the need for breathing room.

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