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Aquarium Drunkard Presents: Tristes Tropiques – A Mixtape

One last languid cruise before the summer fades into fall. A varied collection of teardrops from the Congo to Brazil, Tristes Tropiques  presents the hauntingly beautiful sound of sadness from the global south. Poor a cup of palm wine and enjoy.

IntroCelestine Ukwu - Okwukwe Na NchekwubeMaria Bethî¢nia & Gal Costa - Sol NegroFranco Et Le Tout Puissant Orchestre Kinshasa Jazz - Boma l'HeurePablo Milanés - Yo soy un Hombre SinceroLuiz Gonzaga - Sanfona do PovoBonga - Mona Ki Ngi XiçaGeraldo Vandré - Depois î‰ So ChorarJupiter Bokondji & Okwess International - Djende talelakaGal Costa - AntonicoAmanaz - Khala My . . .

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Dorothy Ashby :: The Moving Finger

1971. This one's cooler than the other side of my pillow. Dorothy Ashby on the Koto. Original compositions inspired by the words of Omar Khayyam, arranged and conducted by Richard Evans.

Dorothy Ashby :: The Moving Finger

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Link Wray :: Girl From The North Country

This fall, my first feature film, Shangri-La Suite, will be released in theaters. It tells the story of two lovers-on-the-run during the summer of 1974. Their names: Jack Blueblood and Karen Bird. Their aim: to kill Elvis Presley. It stars Emily Browning, Luke Grimes, Avan Jogia and Ron Livingston (as the King). Burt Reynolds narrates. The trailer can be seen above.

My writing partner, Chris Hutton, and I, titled our film Shangri-La Suite because we wanted it to feel like a suite of music; like some warped, violent, teenage dirge. Instead of focusing on the tenets of plot, character and structure, we aimed to explore the feeling, the musicality – the momentum, style and cadence – of our story. We wanted to write a two chord movie; to turn “Sister Ray” or “Great Balls Of Fire” into a ninety minute piece of cult-trash outsider cinema. Whether or not we succeeded in this ambition is up for debate. Regardless, music is at the core of Shangri-La’s DNA.

Justin Gage, the man behind Aquarium Drunkard (and my good friend), served as the project’s music supervisor. Justin has been kind enough to offer me a platform here, leading up to the film’s release, where I can write about some of the artists and tracks that inspired our movie and helped shape its creation.

Link Wray :: Girl From The North Country

For my inaugural entry, I’ve chosen Link Wray’s cover of Dylan’s “Girl From The North Country.” It’s a song that served as a north star reference for us – from the writing of the script, through the pitch process, and into the film’s production. We’d often play the track on set, conjuring its energy during love scenes, shootouts, car chases and sequences without sound.

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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 447: Jean Michel Bernard — Générique Stephane ++ Kikagaku Moyo - Green Sugar ++ Omni - Wire ++   The Chills - Pink Frost ++ Muuy Biien - Mara ++ Marianne Faithfull - Broken English ++ Klaus Johann Grobe - Ein Guter Tag ++ Atlas Sound - Rained ++ Ty Segall - Diversion ++ Meat Puppets - Aurora Borealis ++ Stereolab - Diagonals ++ Atlas Sound (w/ Laetitia Sadler) - Quick Canal

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Sounds of Spock :: Gerald Fried & Barney Kessel

On September 8, 1966—50 years ago today—Star Trek premiered on NBC. Pitched as “Wagon Train to the stars,” the show would go on to reflect the humanist ideals of creator Gene Roddenberry, inspiring a sprawling franchise and introducing (multiple) universes, which at their best reflected Roddenberry’s “Great Bird of the Galaxy” spirit and his directive to “boldly go where no one had gone before.” Its cast was interracial, its themes were timeless, its scope was cosmic.

Most—myself included—don’t think of the music of the Star Trek franchise beyond its various themes and the pop . . .

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Kikagaku Moyo / 幾何学模様 :: House In The Tall Grass

One of our favorite sleepers of 2016 — House in the Tall Grass, the latest long-player from Japanese quintet Kikagaku Moyo. Hailing from Tokyo, the group (whose name fittingly translates to “Geometric Patterns”) transmits its waves through a kaleidoscopic haze of acid folk and trance-inducing krautrock. Album opener “Green Sugar” lives up to its name, with its saccharine rhythm and faded vocals floating high above a grooving bass line. The track is followed by the  baroque, chamber pop of “Kograshi" and the shoegaze . . .

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Ryley Walker :: Funny Thing She Said

Ryley Walker’s Golden Sings That Have Been Sung, his third record in as many years, finds the singer/songwriter/guitarist fully coming into his own. On two previous two long players, comparisons to artists like John Martyn, Bert Jansch, Tim Buckley, and Nick Drake dominated conversations about Walker, but his latest finds him exploring English jazz folk through the unique lens of the Chicago experimental scene he came up in, folding in elements of improvisational jazz and experimental textures. Backed by members of Chicago outfit Heath&Beauty and working with producer Leroy Bach (formerly of Wilco), Walker blends and synthesizes his various influences, creating his most fully realized work to date.

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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. Pearl Charles guests the first hour of today's show.

SIRIUS 446: Jean Michel Bernard — Générique Stephane ++ Plainsong - Even The Guiding Light ++ DR Hooker - Forge Your Own Chains ++ John & Beverly . . .

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Nathan Bowles :: Whole & Cloven

Is banjo futurism a thing? Probably not, but if it was Nathan Bowles would be leading the charge. Over the course of three solo albums, the picker/percussionist (you may know him from work with Pelt, Jack Rose, Black Twig Pickers and Steve Gunn, among others) has made music that's at once deeply rooted in traditional folk forms while at the same time forward thinking and progressive.

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James Booker :: Return of The Bayou Maharajah

In July of 1978, James Carroll Booker III sat down at a grand piano in a large concert hall in Montreux, Switzerland and played “True.” The video of this performance is spellbinding, if not galvanizing — equal parts Crescent City grit and classically trained sorcery. Midway through the song, after an otherworldly flourish of keys, Booker shoots a glance towards his fans (and the lens), as if to say, “Top that.” A few minutes later, as the last note rings out, the crowd stands and roars in affirmation of his sentiment. There was no match for the enigmatic New Orleans maestro on that night. He was at the top of his game, performing to a rapt audience in exactly the world-class venue his rare talent deserved.

Allen Toussaint called James Booker a “genius.” Dr. John said he was "the best black, gay, one-eyed junkie piano genius New Orleans has ever produced." Mick and Keith wanted him to play at their after party. Hunter S. Thompson named his writing style after his song, “Gonzo.” Lily Keber fell in love with his story while working behind the bar at Vaughan’s Lounge in the far reaches of the Bywater. Before long she was deep in the catacombs of Booker’s tragic legend, piecing together what eventually became Bayou Maharajah.

We caught up with Keber awhile back to chat about the film. She was —fittingly–in Europe. Read on to learn more about Booker and the making of Bayou Maharajah. Oh, and good news, as of today, the film is streaming on Netflix. Finally, the Black Liberace is getting another moment in the spotlight to strut his stuff.

James Booker :: True (Live at Montreux), July 1978]

Aquarium Drunkard: You became interested in Booker while working as a bartender at Vaughan’s. What were some of the stories that drew you in?

Lily Keber: The first stories that I heard were some of the typical James Booker stories. Throwing up on a piano. Holding a gun to his head and saying he wouldn’t play another note until someone brought him some cocaine. A lot of crazy sex stories - the wild side of life. But I think maybe it was because everyone understood what an incredible player he was. Most of the stories were at the end of his life. People remembered a lot of stuff at the Maple Leaf, more than the Toulouse Theater.

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The Lagniappe Sessions: Pearl Charles

Lagniappe (la ·gniappe) noun ‘lan-ˌyap,’ — 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

One foot in the past, one in the present. Enter Pearl Charles. Having exited the country leaning Driftwood Singers in 2012, followed by a brief stint in the garage drumming for Blank Tapes, Charles has carved out her own path of late. Mining the indigenous coast and canyon sounds emanating from her native Los Angeles, her latest work is imbued with an increased sense of self. Here, we find Charles paying tribute to the late great Sir Doug Sahm, covering "At The Crossroads", along with her take on the evergreen "Superstar" -- penned by Bonnie Bramlett and Leon Russell, covered by many.

The artist, in her own words, below . . .

Pearl Charles :: Superstar (Bramlett/Russell)

I was reintroduced to The Carpenters through the Todd Haynes' student film Superstar: The Karen Carpenter Story, in which he recreates her life using Barbie dolls. You can watch here. I had been familiar with the song prior but had no idea that the song was actually written by Bonnie Bramlett of Delaney & Bonnie and Leon Russell and was originally titled "Groupie (Superstar)".

Pearl Charles :: At The Crossroads (Sir Douglas Quintet)
Doug Sahm named his band The Sir Douglas Quintet in an attempt to  piggyback on the success of British Invasion in the 60's. Though they started out as a garage rock group, by 1969  Doug had moved to California and began exploring psychedelics and country-rock. I chose this tune because while the song is representative of this later period in which Doug explored more soulful, countrified ballads, I still wanted to pay tribute to Doug's Texas roots, which he references in the chorus line "You just can't live in Texas if you don't got a lot of soul".

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Transmissions Podcast :: Jesse Jarnow’s Heads: A Biography of Psychedelic America

Welcome to the sixth episode of AD's Transmissions podcast, our recurring series of in-depth conversations. In this episode, Jason P. Woodbury sits down with Jesse Jarnow, host of WFMU's The Frow Show, to discuss his recent book, Heads: A Biography of Psychedelic America.

A decade-spanning look at the Grateful Dead and the culture the band spawned, it's one of our favorite books of the year, one that explores of underground . . .

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Idris Ackamoor :: The Aquarium Drunkard Interview

In the early 1970s, bandleader Idris Ackamoor formed the Pyramids, blazing a trail that united psychedelia, soul, and jazz, and began to travel the world. The group started in Ohio, at Antioch College, where Ackamoor studied under the tutelage of Cecil Taylor, before relocating to San Francisco, visiting far off lands in between. As the band ended, he launched a campaign of musical activism, Cultural Odyssey, but more than three decades after disbanding, Ackamoor reactivated the combo, releasing a new album, Otherworldly in 2012 and following it up earlier this year with We Be All Africans,  out via Strut Records.

If you're a listener of Aquarium Drunkard's Transmissions podcast, you heard our talk with Ackamoor, interspersed with fantastic sounds from his records. Presented here, an edited transcript of that conversation.

Aquarium Drunkard: Idris, it's a real pleasure to speak with you. I want to start off by discussing the title of your new album with The Pyramids. It's We Be All Africans. Can you tell me where that title came from?

Idris Ackamoor: We know some of the oldest skeletons or human remains have been found in Africa [and the title] relates to the fact that we are really all one human family. I was [writing] around the time when we, here in America, were going through a lot of situations and violence with the police. Police shootings of young black men. I was just so affected by everything that was happening in Ferguson and other locations [asking], "Why does this continue to happen?" It has something to do, a lot of times, with a racial issue that we have here in America, when, in reality, we are all one family. One part of the human family. So you know, that just was kind of a message of hope, a message of survival. That this is a very small planet we're living on, and we have to share it.

AD: In the liner notes you write that the album is exactly what you said, "a message of survival," and also of "renewal." With the events of Ferguson, [it feels like awareness of longstanding civil injustices] has reached a fever pitch. Did that message feel particularly timely to you?

Idris Ackoamoor: Oh absolutely, and I also think that it really extends really beyond the U.S.A. I was also thinking a lot about the immigration crisis, in Europe. We know now that it's an ongoing situation where many immigrants from Africa are trying to reach Europe to search for a better life. They're fleeing war, they're fleeing extreme poverty, but many times, they're not welcome. There's a tendency to look at them as "the other". It's the same situation with the Syrian refuge crisis. So yes, I think that it's really very timely.

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Teenage Fanclub :: Here

There's a case to be made for quality over quantity. Sometimes, bands with decades-long careers offer extensive output, pumping out album after album in an effort to appear relevant and hip. Then there’s Teenage Fanclub. Teenage Fanclub aren't a supply-and-demand kind of band, and it works in their favor. Formed in  1989, the Scottish group's output may have slowed in recent years --   it's been more than half-a-decade  since the release of their 2010 album, Shadows -- but that doesn't mean they've put music on the back burner.  Individually, they've been busy, devoted to  their equally wonderful side projects (work with Jad Fair, Euros Childs, the New Mendicants, Snowgoose, Lightships), content to take their time crafting a new Fanclub record, knowing that the wait will be worth it (and that their fans are patient ones).

So, exit Shadows, and enter Here.

Released September 9th  via Merge Records, Here is their third release for the label, recorded in three studios in three different countries (Raymond McGinley’s own home studio in Scotland; Vega in Provence, France; Clouds Hill in Hamburg, Germany) before being mastered at Abbey Road in London.

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Johnnie Frierson :: Have You Been Good To Yourself

How sweet it is. Johnnie Frierson was the brother of the great Wendy Rene and a fellow member of The Drapels, a group unearthed as part of Light In The Attic Records' 2012 Wendy Rene singles and rarities compilation. The label now gifts us with the holy word of Frierson — via their reissue of his  lo-fi, late 60s homegrown record, Have You Been Good To . . .

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