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David Thomas Broughton :: The Complete Guide To Insufficiency

There  should  be a myth around David Thomas Broughton. There should be mystique. Something sinister. Darkness that spirals around his heart and mind. There  could  be a man with serious troubles, the kind of man who asks the same questions and makes the same statements over and over, to no one in particular; a man who "struggles with the nightshade in [his] blood."

Perhaps that there is no such darkness or myth surrounding David Thomas Broughton is paradoxically confounding and relieving. In fact, he seems downright . . .

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Kingsley Bloom :: Hymn & Hawberry

Sunset’s closer to eight o’clock now and it's muggier every damn day. Pretty soon it will be too hot in the house to think about anything other than the katydids bellowing outside the bedroom window. Kingsley Bloom’s “Hymn & Hawberry” is music for when the box fan dies. Brantley Jones’ hoarse tenor curls effortlessly with Ruby Kendrick’s youthful harmony. Imagine Skip Spence singing alongside Melanie. Together their voices breeze through the nearly fossilized summer air pressed against the screened-in front porch. Guitars rumble and clap. A late-night thunderstorm is on the move. Then . . .

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David T. Walker :: Lay Lady Lay / Plum Happy (1970)

In the hands of David T. Walker, "Lay Lady Lay," a cornerstone of Dylan's Nashville Skyline, slides into a jazzy, languid, space residing somewhere just shy of early 70s porn groove and after-midnight lounge. I use neither descriptor as pejorative. Found on the Tulsa-born session guitarists 1970 solo joint, Plum Happy, the track, while devoid of the original's intent, works on the same level as contemporary George Benson's become a member or log in.

Sharon Van Etten :: Are We There

"You told me the day / that you show me your face / we'd be in trouble for a long time. / I can't wait / 'til we're afraid / of nothing." This is how Sharon Van Etten opens her fourth album - with people who are afraid of revealing themselves. When Van Etten sings later in the song that her counterpart responds to her with a meek "wait shit out," she replies "you're a little late. / I need you / to be afraid of nothing."

It's a brilliant set of lines. On the one hand, Van Etten seems . . .

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Jerry David DeCicca :: Understanding Land

On the back of Jerry David DeCicca’s Understanding Land, his first solo record after fronting folk combo The Black Swans for a decade, the songwriter describes a hike with Massachusetts naturalist Michael Metivier. While walking, Metivier explained the way trees are ripped from the ground during storms, and the way the holes left behind foster new plant life. The idea stuck with DeCicca, informing the songs he wrote following a tour of Portugal and Spain. Staying at a friend’s flat in London, he hung mics from the clothesline and birdcage in her living room and began sorting through a few years' worth of notebooks. Those resulting songs became the foundation of Understanding Land an album centered around the idea of “rebirth.”

“I feel like it’s a pretty positive record,” DeCicca says from New Braunfels, Texas. Following a period of storms, which included the loss of Swans bandmate Noel Sayre, DeCicca took comfort in the idea of seasons and growth.

The album’s closing song, the beatific “Bloom Again,” punctuates the LP’s hopefulness, “So I stood like a tree/though nature’s bitter schemes/and I waited my turn/to bloom again.” The song was inspired by the Roy Orbison documentary The Big O in Britain, which DeCicca watched in London.

“He had that line ‘I just stood like a tree, and I just bloomed again,’” DeCicca says of Orbison’s reflection on the renewed interest in his music. “He’d gone through these seasons, but he hadn’t really changed, he just waited for it to be his time again. You don’t need to do anything. The world is going to change and grow around you, but nature is going to take its course.”

DeCicca intended the tracks recorded in London to be demos, but they quickly took on a life beyond his plans. Passed on to bass player Andy Hammil, it became apparent that the loose nature of the recordings had potential. “It just kind of grew from there,” DeCicca says. Hammil and DeCicca added drums, vibes, and strings. “Before I knew it, I started thinking of this as a ‘record’.” Contributions from DeCicca’s allies Will “Bonnie Prince Billy” Oldham, Kelly Deal, and Spooner Oldham followed, fleshing out DeCicca’s bare bones recordings.

continue reading after the jump. . .

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Country Funk :: Volume II 1967-1974

It's a rare thing when a sequel matches the intensity of the original. But like Gator to White Lightning, Light in the Attic's newly announced Country Funk Volume II 1967-1974 not only equals the grit and stride of the label's 2012 collection, it actually expands and broadens the genre's definitions. In our 2012 Year in Review, we stated that the artists . . .

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Bob Dylan :: Hero Blues (Freewheelin’ Outtake), December 6, 1962

Happy birthday to your hero and mine, the forever inscrutable Bob Dylan. For more than five decades, he's brilliantly confounded expectations and confused audiences in an extremely entertaining manner. And that seems to have been his intention all along, judging from this firecracker of a song, recorded way back in 1962 during the sessions for his sophomore LP, The Freewheelin' Bob Dylan. He's addressing a ladyfriend, but he may as well be talking to his public:

Well, when I . . .

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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. Ghost Capital guests this week sourcing tracks from the new AD/GC mix, African Women Sing.

SIRIUS 342: Jean Michel Bernard . . .

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AD Presents :: African Women Sing (A Mixtape)

African Women Sing: the fifth installment of our ongoing mixtape collaboration with Nick Barbery of the Portland, OR based, Ghost Capital. At 31 tracks, the following mix celebrates the rich and varied female driven music of the African continent - past and present.

Download: African Women Sing (Ghost Capital V - A Mixtape) - zipped folder

1. Mariem Salec (Sahrawi, West Sahara) - What Am I Longing For?
2. Les Amazones de Guinee - Soungouroun Baya
3. Sophia Ben & The Eagles Lupopo (Kenya)- See . . .

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Amen Dunes :: Love

So these are love songs. That’s what Damon McMahon – the factor and force behind Amen Dunes – says, and I think I believe him. It’s an audacious move to name your biggest, boldest artistic statement after one of life’s biggest, boldest mysteries. But McMahon has one thing and one thing exactly on his side: He knows that love is a mystery. And he’s built his become a member or log in.

Alexis Zoumbas :: Lament For Epirus, 1926-1928

The recordings by Greek violinist Alexis Zoumbas contained on this fantastic reissue are close to a century old, but they sound as though they could've been somehow broadcast from some pre-industrial age even further back. Of course, that's not the case -- in fact, the music here was captured not on some pastoral Greek landscape, but in New York City. But the evocative, mystical quality of Zoumbas' playing takes the mind out of modernity and into the past.

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Steve Colt :: Dynamite (1968)

                                                                                         Daammnnnn. Dig this'un. Big Beat Records, 1968.

Steve Colt :: Dynamite

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Wax Wonders :: The Bob Seger System & The Last Heard

"East Side Story" (1966) isn't Bob Seger's debut record (that honor goes to the bizarre pro-war "Ballad Of The Yellow Beret" - an opinion he soon reversed via a record we'll hear in a bit), but it is a fully realized recording that makes plain from the opening fuzz guitar and bongos it ain't messing around. Framed by an incredible groove, the track is tied together by Bob's extraordinary lyric, coupled with the incredibly powerful 'no's' of the chorus. And while it was picked up for national release by Cameo Records, perhaps the message was still too odious for the masses (although the record was a massive hit in Detroit).

Bob Seger & The Last Heard :: East Side Story

Bob went on to release a few more singles (including the cool Xmas novelty "Sock It To Me Santa"), but it was 1967's "Heavy Music" that seemed poised to propel the group into stardom. With a soulful groove that swings HARD, exceptional vocals (by both Bob and angelic backing singers, Honey Ltd.) this record should have been massive. Once again, it was a local smash in Detroit.

Bob Seger & The Last Heard :: Heavy Music

By 1968, Cameo had given up on Bob, but he was soon picked up by a much larger label; Los Angeles powerhouse Capitol Records. Bob's first release for Capitol could not have been less commercial, though. One of the most powerful anti-war tracks ever laid to tape,"2+2=?" completely reverses Seger's views on the Vietnam war. The vocal intensity alone matches that of Roky Erickson. The record may not have been a hit, but god DAMN does it hit hard with a message is just as relevant today.

The Bob Seger System :: 2 + 2 = ?

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Famous L. Renfroe :: Children

“A long time ago I used to hear spiritual singers singing beautiful songs and I wanted to be a singer too. I first started my musical career by singing in small local groups in my hometown of Memphis, Tennessee. In the year 1968 I came to Seattle and started singing with local groups, but failed to find one that was stable enough to record (with) so I decided to cut an album by myself. The music was written and produced by myself who except for the drum parts, done the entire record.” - Famous L. Renfroe

The above . . .

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