This Wednesday night, AD and KXLU present Twin Peaks at The Echo with Criminal Hygiene, Modern Vices and Meatbodies. I'm djing. We're giving away a few pairs of tickets - to enter, leave a comment with your favorite record from 1994. Tickets available, here . . .
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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 363: Jean Michel Bernard — Générique Stephane ++ Springtime Carnivore - Sun Went Black ++ Tubeway Army - Are ‘Friends’ Electric? ++ Women - Eyesore ++ Deerhunter - Helicopter ++ So Many Wizards - Nico ++ The Art Museums - Sculpture Gardens ++ Harlem - Goodbye Horses ++ Knight . . .
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While the music scene in 1960's Los Angeles is far better known as a hotbed of surf, psych, and pop records, there was always a strong R&B scene in smog central. Being as L.A is undoubtedly the epicenter of American music, it's no surprise that the results on wax include some superb Motown influenced discs, lush deep soul, hard hitting funk, and roof raising stompers.
Alice & The Soul Sensations :: The Funky Judge (1969)
A few things that ARE known about this . . .
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This has been on constant repeat. Seriously. Via On Your Own Love Again, out January 2015 - Drag City
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Lagniappe (la ·gniappe) noun ‘lan-ˌyap,’ — 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.
For this installment of the Lagniappe Sessions, Daniel Bachman takes on Jack Rose and William Moore. Bachman's last LP, Jesus I'm A Sinner, ranks as one of become a member or log in.
Dig into this honey-coated gem from The Mama & The Papas.
From their 1971 album People Like Us, “Snowqueen of Texas” is a rich slice of mellow, golden folk pop. With soulful rhythm and warm, understated production, it's a casual dance between grooving bass and drums, wavy guitar, twinkling keys, and toasty autumnal harmonies. It also contains some of John Phillips’ most interesting songwriting and clever ear for melody. The song paints a scene both vivid and vaguely warm, with phrases . . .
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Doug Paisley and Bonnie “Prince” Billy are individually responsible for two of this year’s most sublime collections of folk rock, Strong Feelings and Singer's Grave A Sea of Tongues. In a gorgeous case of real recognizing real, the songwriters have teamed for “Until I Find You,” a new single available from the solid folks at No . . .
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There are those songs that come into the studio to be revamped, polished, and preened, and then there are those songs that enter, rough and tumble, and utilize the momentum. It’s there in the introductions mostly, this ability of a song to reveal itself as a production. You hear it taking place, pre-performance, and suddenly you’re in amidst the equipment and the mixing board. Everything’s a mess and everything’s about to come together. More importantly, you’re being reminded (sometimes intentionally, sometimes not) that, yes, this is recording, this is something being made for you . . .
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Welcome to Dead Notes #9. In early 1969 we find our bohemian freaks spaced out on STP and nitrous oxide, holed up behind a 16-track recording console working on their palindromic 3rd album, Aoxomoxoa. The sessions are described as "a little weird to very weird" and the blossoming partnership between Jerry Garcia and Robert Hunter results in lyrics so obscure and far-out that the resulting album is split between fan favorites and inaccessible cuts that only the deepest heads could fully appreciate. In the middle of January the band are guests on Hugh Hefner’s short-lived, yet too-corny-to-be-cool, program Playboy After Dark. With their merry band of rogues in tow, including acid king and benefactor-cum-soundman Owsley Stanley - who made it his personal mission to dose Hugh Hefner’s Pepsi - the party goers loosen their ties and tops while Garcia strums the lysergic chords of “Mountains of the Moon”. Days later the band’s crew is stumbling up the steep stairs of the Avalon Ballroom, arms filled with equipment, to begin a month’s worth of recording for their seminal release Live/Dead.
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From the wholly acoustic album, 1969’s Welcome Hamilton Camp, this deep and brooding Dylan cover resides amongst a small collection of musical meditations in the form of original songs and hypnotic covers ranging from Bob Dylan and Simon & Garfunkel to Leonard Cohen.
Coupled with the reverberations of harmonica accompaniment (sounding not unlike Neil Young's harp), Camp’s vocals transcend most folk singers and lend themselves to an operatic comparison which takes each song to new heights . . .
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A sonic medley of oranges and browns, falling leaves and autumn tones. Embrace soulful western ballads, gentle whispers and cold and gritty tunes that demand the tempting warmth of your winter coat. Because it is almost time, but not quite yet.
Aquarium Drunkard Presents: November — A Medley
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Out on The Unseen Green Obscene lp via Reverberation Appreciation Society. Shot on Super 8 while driving around LA looking for Brian Wilson. The video is a throwback to the Pet Sounds promotional videos . . .
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Weyes Blood is the project of Natalie Mering. On her latest lp, The Innocents, she has crafted a soundscape that is brighter, clearer, than the murkier, more lo-fi psychedelic outings of past. But that’s not to suggest that the music is any less haunting. After all, on “Hang On,” Mering wakes up in a tomb. This is gothic, elegiac folk — stately and majestic. Her vocals are measured, solemn and deliberate, evoking a bygone . . .
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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 362: Count Chocula Intro ++ The Tomko’s - The Spook ++The Blue Echoes - It’s Witchcraft ++ The Gories - Casting My Spell ++ The A-Bones - Mum’s The Word ++ Elvira - End of Side One ++ Screaming Lord Sutch - She’s Fallen In Love With A Monster Man ++ Baron Daemon & Vampires - Ghost Guitars ++ Frankenstein - This . . .
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(Welcome to Videodrome. A monthly column plumbing the depths of vintage underground cinema – from cult, exploitation, trash and grindhouse to sci-fi, horror, noir and beyond.)
While Halloween goes hand in hand with horror, perhaps nothing captures the playfully gruesome spirit of the season quite like a musical horror comedy.
But blending laughter, tunes and good old-fashioned human slaughter is not an easy trick to pull off–nor are there many treats in this underserved genre. Beyond Sweeney Todd and the Rocky Horror Picture Show, fans face the prospect of quenching their music-horror cravings with tremendous schlock stupidity like Hillbillys in a Haunted House or Jesus Christ Vampire Hunter. Thankfully, a recent high definition update of Brian De Palma’s wild glam-goth spectacle Phantom of the Paradise makes a worthy addition to this exclusive category, and a fine choice for your haunted harvest viewing pleasure.
The plot focuses on Winslow Leach (William Finley) an idealistic but talented young composer who is hoodwinked by the shadowy music mogul Swan, framed for drug crimes and imprisoned, then maimed, disfigured and forgotten. Re-emerging as the Phantom, he stalks the nooks and crannies of Swan’s Paradise Theater sabotaging sets and offing those who defy his musical aesthetic, before being tricked into writing a magnum opus for his muse, the beautiful, vocally endowed Phoenix (played by Jessica Harper, later of Suspiria fame).
Subbing in rock ‘n roll and a scurrilous music industry backdrop, the film offers a remix on Phantom of the Opera, while stitching references from works such as Doctor Faustus and Psycho together with themes from classical Gothic horror and high show biz satire.
Culminating in a bloody, campy, cheap effects-driven cacophony of electric guitar haze, dancing, screaming and 70s fashion, Phantom cuts a visually arresting exploration of the corrupt and creepy, with a soundtrack that sticks in your head. It’s also early evidence of the budding talent and filmmaking passion of De Palma, who hints at some of his later, bloodier work (Scarface, Carrie) while demonstrating heart and a sense of humor.
Of course, as can be expected from a B-movie of this era, the acting is unremarkable. From a technical standpoint, the film’s low budget nature is evident throughout. But no matter. The real highlight is a bizarre and captivating mix of songs and performances that artfully aids and abets the Phantom’s mad, music-fueled quest for vengeance.
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