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Bob Dylan w/ Robbie Robertson: I Can’t Leave Her Behind

Rumors were flying all summer about a massive Bootleg Series covering Bob Dylan's unbelievable, earth-shaking 1965-66 period. And hey, the rumors were true. The Cutting Edge (available in 2-, 6- and 18-(!!!) disc versions) draws back the curtain on Dylan's studio sessions for Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde, three of the best albums made by anyone, ever.

I know what you're thinking -- "Do I really need 18 discs of false starts . . .

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The Lagniappe Sessions :: Calvin Love

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

The record is entitled Super Future -- Calvin Love's follow-up to 2012's New Radar. Like Radar -- a record whose focused, slender arrangements were populated by thin guitars, electronic drums . . .

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Miles Davis w/ John Coltrane: “Walkin'” / Cafe Bohemia, 1958

John Coltrane would've turned 89 today. While it's a fun parlor game to imagine the twists and turns the saxophonist's music might've taken if he'd lived just another decade longer, in the end we're lucky to have had him as long we did -- and that he left behind such a wealth of sounds to explore. WKCR's annual, all-day Coltrane birthday tribute

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Swan Silvertones :: If You Believe Your God Is Dead (Try Mine)

There’s not much that needs to be said about this Swan Silvertones cut. A far cry from the hall of fame gospel group’s early (and heavenly) A Capella arrangements, “If You Believe Your God Is Dead” delivers the word via three minutes and twelve seconds of raw, electrifying funk. Lord knows I wouldn’t have been crawling under pews and drawing pictures in the bulletin during Sunday service if the Silvertones had . . .

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Bobby Brown :: Hawaii

Hawaii’s Bobby Brown redefines private press psych-folk, with his floating echo, homegrown instrumentation (pictured above) and atmospheric blend of tropical surf vibes, Indian raga music and new age spaciousness. Brown cut three records, including the “live” album from which this track is culled. As the story goes, the album was performed to an audience of one: Brown’s dog, inside his van. Eccentricities aside, “Hawaii” is an undeniably beautiful peace of music. At once earthy, aquatic and cosmic, it transcends space, time and most definitely genre. It’s weightless and it’s infinite, so go ahead . . .

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Maurice & Mac :: Why Don’t You Try Me

Maurice McAlister and Green "Mac" McLauren were part of the Chicago-based doo-wop group The Radiants, recording on Chess Records in the 1960s. In the latter half of the decade, they parted ways with that group and headed down to Muscle Shoals, Alabama where they recorded a number of songs at the legendary Fame Studios, including the incendiary 1968 cut “Why Don’t You Try Me,” recently found infusing the soul into our recent Late August Light . . .

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Aquarium Drunkard Presents: No Jacket Required — CMJ 2015 — October 16th — Rough Trade, NYC

AD / NYC. Aquarium Drunkard — CMJ 2015 — No Jacket Required. October 16th at Rough Trade in Brooklyn. Tickets available, here. More details next month. . .

Protomartyr ~ Drinks ~ Omni ~

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can now be heard twice, every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 404: Jean Michel Bernard — Générique Stephane ++  Cotton Jones - Cotton & Velvet ++ Yo La Tengo - Autumn Sweater ++ Jennifer Castle - Powers ++ Steve Gunn - Wildwood ++ Ryley Walker - On The Banks of The Old Kishwaukee ++ Joan Shelley - Over And Even ++ Meg Baird - Counterfeiters ++ Kurt Vile - He’s Alright ++ Norma Tanega - You’re . . .

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Christine Perfect (Christine McVie) :: I Want You

Before joining Fleetwood Mac and taking John McVie's name in marriage in 1970 --   and just after her stint in the underground British blues band, Chicken Shack (1967-68) -- Christine Perfect cut a solo album in 1969 that featured her smoky, soulful and sensual vocals in what is possibly her greatest overall performance in this style. Christine, of course, wrote and sang on some massive Fleetwood . . .

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The Invincibles :: Heart Full Of Love

Soulful soprano voices exist everywhere in Deep Soul music but few reach the stirringly emotional heights of this track from the LA group, The Invincibles. A few singles exist to their name (none being remotely affordable) but even fewer LPs. Well, to be precise, none.

Dave Richardson, Clifton Knight and Lester Johnson recorded their first few singles under Warner Bros. and their R&B subsidiary, Loma. “Heart Full of Love” is backed by and riddled with a noodling guitar of the sunny yet begging “I’ll Come Crawling” and then their relationship troubles continue with 1966’s deep anthem . . .

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Roadside Graves :: Acne/Ears

Was there ever any doubt they'd be back? That's the only question to consider when listening to Roadside Graves' Acne/Ears -- their first long-player in four years.

As aspirations go, every band would love for music-making to be a full-time endeavor. But as realities set in, most bands live parallel lives: There's the music, life as a band, the thing that for listeners might as well exist independently of anything real. And then there's everything else. Jobs and relationships and the trying… the trying to settle into the lives that the rest of us do. Eventually, something is compromised and one of those lives wins out. Most usually, it's the latter. For the Graves, moving past 15 years as a band -- not middle-aged by any means, but no longer young -- there are jobs and families and all the rest. They're teachers. They're married. They're dispersed across states and countries. If that's face value -- and taking things a that -- then the answer to that question could be… sure, there was some doubt. That would be the incorrect answer.

That's important for two reasons. More generally, this is a band with consistently great work that just isn't going away, the kind of band whose output will surely be discovered and rediscovered for years. More specifically, Acne/Ears is evidence of the fight that's kept them going. Not the fight for success or to "make it" as a full-time band. But the fight against the self -- against doubt, growing through and beyond experiences, the occasions where those parallels synapse with conflict.

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The Lagniappe Sessions :: Spooner Oldham



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

Zelig-like co-founder of the Muscle Shoals Rhythm Section, Spooner Oldham cut his professional teeth in Alabama at FAME Studios. After sitting in with the likes of Aretha Franklin, Percy Sledge and Wilson Pickett, Oldham then headed west to Los Angeles to further his reputation as a session man backing Dylan, Neil Young, J.J. Cale, Townes Van Zandt, Ry Cooder, Gram Parsons and beyond. As artists go, the man defines the word bonafides.

This week, Light In The Attic Records is reissuing Oldham's lone solo album, 1972's Pot Luck. A sleeper upon its original release, the reissue marks not only the return of the lp to vinyl, but its first ever appearance on CD/digital. While in Los Angeles in July, Oldham cut the following AD session at Red Rockets Glare studios paying tribute to some of his favorite sides. Oldham, in his own words, below...
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"Out of Left Field" - I was thinking of Percy sledge, who did such a wonderful rendition of the song. I always liked the Shirelles version of "Dedicated", and I wanted to do a male version, as the words are not gender specific. "Come On Over" -- by Ben Atkins & The Nomads -- is an uptempo song, I thought would be fun to play along with Hutch Hutchinson and Phil Jones. It was.

Spooner Oldham :: Out of Left Field (Percy Sledge)
Spooner Oldham :: Dedicated To The One I Love (The Shirelles)
Spooner Oldham :: Come On Over (Ben Atkins & The  Nomads)

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The Zion Travelers :: The Dootone Masters

“The four walls of my room were like the four walls of my grave. . .” The most moving document of The Zion Travelers may be “The Blood,” an ecstatic testimony of a near death experience. Lead Traveler L.C. Cohen’s soaring tenor blisters and quakes above a feverish bed of group harmony. As they hold and stretch a chord over the word “blood,” their timing begins to feel elastic, pumping rhythm like a bodily organ in the throes of struggle. The song’s salvation is attributed to the spiritual, but there’s a corporeal truth in the cry “Blood, runnin . . .

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Kurt Vile :: That’s Life, Tho (Almost Hate To Say)

It’s not what you say, it’s how you say it. See, Philadelphia songwriter Kurt Vile has a way of saying things -- understated phrases just tumble from his mouth, hovering over motoring heartland rock or spacey acoustic guitar drones. Vile’s shrugged shoulders, ah-I-dunno lyrical sensibility means he gets away with saying things other songwriters couldn't. Words like "chillax." “When I go out I take pills to take the edge off, for to just take a chillax, man, forget about it,” he coos on “That’s Life, Tho (Almost Hate To Say),” the fourth song from . . .

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Jennifer Castle :: Castlemusic

Not unlike our recent look back at Toronto band Deloro’s 2011 self titled album, we revisited Jennifer Castle’s solo record from that same year, the lovely Castlemusic.

Castle's successor to that record, Pink City,  is an absolutely stunner. Gentle rolling guitar, Owen Pallett’s lush string arrangements and Castle's voice - an indefinable thing that is at once fragile, delicate and rugged - are just some of the elements that made that collection of pastoral folk songs one of our favorite records of 2014. As an album, it deftly framed Castle as a twenty-first century aesthete, navigating the ghosts and discarded palm fronds of 1970s Laurel Canyon.

Taking nothing away from that record, Castlemusic is just as sturdy and surely suggests the forthcoming majesty of its follow-up. But there’s a thicker air of dust on this lp accompanying Castle amongst her explorations of existential heartbreak. The opening “Summer” finds Castle in a thick, murky atmosphere, the humidity rising and reverberating off the guitar with Castle’s cooing getting lost in the echo. The stunning and unparalleled “Powers” follows the blossom and subsequent decay of nature. Her weary voice travels beside deep rumbling guitar, airy flute and distant echoes of drum.

Jennifer Castle :: Powers

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