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Bob Dylan & The Band :: I Ain’t Got No Home – Carnegie Hall, ’68

Bob Dylan Odds & Ends The BandPosted on

I know we’re all busy having our minds blown by the new Basement Tapes Complete box set that landed last week … but take a couple minutes to dig this very Basement-y recording of Bob and the Band (who may still have been the Hawks at this point) paying tribute to Woody Guthrie in early 1968. It’s the only live appearance Dylan made between mid-1966 and 1969, but he’s in fine and fighting form as . . .

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There Will Be Mud: 24 Swampy Nuggets From The Rockabilly Hinterlands

MixtapesPosted on

We're back with another collection via our transatlantic collaborator, Sweden-based DJ/record collector Peer Schouten. Enter: There Will Be Mud -- a collection of rockabilly tracks, and their forebears--24 gems dug up from swampy southern soils; a strange choreography of whiskey, religion and other spirit-infused sufferin 'n smilin.

There Will Be Mud: 24 Swampy Nuggets From The Rockabilly Hinterlands

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Kim Jung Mi :: Haenim

Kim Jung MiPosted on

Closing out Aquarium Drunkard’s September mix are the ghostly vocals and gentle acoustic strumming of a piece of music who’s rhythmic perfection has the ability to both take you by surprise or calm you into a state of bliss. Kim Jung Mi’s 1973 album, Now, is no accidental wonder, though, because the combination of her sultry, echoing vocals and the American-influenced psychedelic and rock musings of producer, and ordained “Korean Godfather of Rock” lend a . . .

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Rick Nelson :: Garden Party (1972)

Rick NelsonPosted on

“But it’s all right now, I’ve learned my lesson well. “You see, you can’t please everyone, so you’ve got to please yourself”

In 1971 Rick Nelson was invited to perform at Madison Square Garden with a handful of other ’50s rock luminaries -- only to be subsequently booed off the stage by an audience not expecting Nelson’s, then, newfound love of country-rock. The next year Nelson and The Stone Canyon Band released the become a member or log in.

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Augusto Martelli :: Djamballa

Augusto MartelliPosted on

In a time when the word “epic” is wildly overused and misused, it is unfortunate that the most honest definition of the adjective form so accurately describes this song. In fact, “epic” can be use to describe a large amount of Augusto Martelli’s film compositions during the early 70s. At their finest, these scores shine with their enormous orchestrations paired with large-scale, spaghetti western type tunes that serve as their own narration to gritty Italian cult and mainstream films. Martelli has worked on dozens . . .

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Springtime Carnivore

Springtime CarnivorePosted on

Springtime Carnivore’s Greta Morgan is the pop artist we need right now. Her self-described “Technicolor daydream music” is luminous, catchy and strange — as danceable as it is pensive and atmospheric. Her self-titled debut, co-produced by Richard Swift, dropped this week via Autumn Tone.

Swift’s woozy, saturated trademark aesthetic is all over this record. Instrumental opener “Western Pink” feels like a cinematic sweep over a cosmopolitan sunset. “Collectors” is a sugary sonic rainbow . . .

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AD Presents: Twin Peaks @ The Echo – Wed, November 12th

Aquarium Drunkard Presents Twin PeaksPosted on

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

SIRIUSPosted on

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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Wax Wonders :: Los Angeles Soul – Part One

Wax WondersPosted on

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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The Lagniappe Sessions :: Daniel Bachman

Daniel Bachman Lagniappe SessionsPosted on

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.

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The Mama & The Papas :: Snowqueen Of Texas

The Mama & The PapasPosted on

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 & Bonnie ‘Prince’ Billy :: Until I Find You

Doug Paisley Will OldhamPosted on

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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Shut Up, Al Green :: The Art Of The Studio

Al Green Junior Wells Van MorrisonPosted on

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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Dead Notes #9 :: (2/22/69 Vallejo, CA)

Dead Notes Grateful DeadPosted on

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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