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Levon & The Hawks :: Pop Ivy’s, Port Dover, Ontario, CAN, 1964

"We have an announcement," says the drummer between songs. "There's lots of corn left! So alla you who feel like havin' a cob..." Just another glamorous gig for Levon & The Hawks, the group that less than a year later would be shattering folkie ear drums with Bob Dylan, and by decade's end would be known as The Band. Even at this early date, the Hawks were seasoned vets, having existed in one form or . . .

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Townes Van Zandt :: Sunshine Boy – The Unheard Studio Sessions And Demos, 1971-1972

Though he made plenty of them over his career, Townes Van Zandt was not particularly interested in studio recordings. He was a songwriter first and foremost, a performer second, and a record-maker a distant third, preferring to let producers and session men do the heavy lifting when it came to laying down his songs on tape. While this might have worked for some -- Bob Dylan created great art out of a kind of anti-record making -- well, there's a reason that the most beloved Van Zandt album is become a member or log in.

Yo La Tengo :: Fade

Recently, I was thinking about artists who have been around awhile and whose work has been labeled as 'influential' at one point or another. Thirteen albums into their career, Yo La Tengo certainly falls into that lot. But what makes a listener care about their new music? It's an interesting question. Why should I care about Fade when I have Painful and I Can Hear the Heart Beating as One in my collection already? More over, does this new music lend a different lens through which to examine their older work? What, potentially, makes this essential Yo La Tengo listening?

Fade is defined by its opening and closing tracks. They are the two longest songs on the album and in the case of the former, it gives the record its defining lyrical mood. "Ohm," as the track is called, has a homophonic double meaning. "Nothing ever stays the same / nothing's explained...'cause this is it for all we know / so say goodbye to me / and lose no more time...resisting the flow." Ohms, of course, are the SI unit for electrical resistance, but it's also pronounced the same as the mystical syllable that is used in Hinduism, Buddhism and other religions to represent, among other things, the single vibrating sound that connects all of the universe. And "Ohm" is nothing if not a vibrant and hypnotic song. As the consistent drum beat propels the song through its time, everything seems in service of the song's whole sound. Nothing is out of place, nothing distracts from the song's mantra. "Before We Run," the album's closing song, is made by its horn section, a triumphal song of uncertainty, of eyes-forward and of counting on the support of others to grow and evolve. If "Ohm" is the beginning of Fade's chant, the beginning of its meditation, then "Before We Run" is the closing moments, the finishing breath.

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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 281: Jean Michel Bernard — Generique Stephane ++ The Bellys - Chow Chow ++ Mikal Cronin - Apathy ++   Fuzz - This Time I Got A Reason ++ The Creation - How Does It Feel To Feel (US Version) ++ Canarios - Trying So Hard ++ De La Ceca A La Meca (Sally's Uptight) ++ Johnny Thunder - I'm Alive ++ The Shadows - Scotch . . .

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Unknown Mortal Orchestra :: II

“FFunny FFriends” was the peppy Bandcamp track that amassed so much online hype it morphed Ruben Nielson’s bedroom project from an internet mystery into an established, touring band. Yet despite a solid, self-titled LP and loads of acclaim, the first word Nielson sings on Unknown Mortal Orchestra’s II is “isolation.” The band’s sophomore release, out on Jagjaguwar, sounds similar enough to UMO’s first hits but is permeated with a different, darker kind of unknowable intrigue. “I wish I could swim . . .

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Cody Chesnutt :: The Aquarium Drunkard Interview

Cody Chesnutt indirectly made himself into a bit of enigma this past decade. After his band was dropped from a record deal right before the release of their finished debut, Chesnutt holed up in his bedroom and created The Headphone Masterpiece, a sprawling, 36 track lo-fi soul, rock and r&b mess released in 2002 that won over critics and grabbed the attention of The Roots, leading to their re-recorded version of Chesnutt's "The Seed" and some serious attention. But then he fell off the map, finally resurfacing in 2010 with an EP and then in 2012 with his debut's proper follow-up, Landing on a Hundred. Prior to his show at the Troubadour in L.A., Chesnutt spoke with Aquarium Drunkard over the phone about the success of that debut, where he went for eight years, how Sam Cooke's songwriting influenced his own and whether or not he really was ever addicted to crack (spoiler alert: he wasn't).

Aquarium Drunkard: If we go all the way back to 2002 and The Headphone Masterpiece, you started off with this debut album - 36 tracks, a double album - was the attention that the record received overwhelming, or did you expect it at all?

Cody Chesnutt: It was cool. To be honest with you, I didn't know what to expect. After I'd been dropped from the record company, I didn't really have a lot of expectations. I just focused on getting music out that I felt best represented myself as an artist at the time. I really tried to move forward without becoming too bitter or too jaded. So I stayed in my room and made music that spoke to me and moved me and the people we shared it with who came over to the house. So I put it out like that. I just played and expressed it loud and had fun with it. It was amazing to see how it took off. I was pleased with the response.

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John Cale & Friends :: The Ocean Club – NYC, July 21, 1976

Ten years after they first emerged from Warhol's Factory, the Velvet Underground loomed larger than ever before in the CBGB-centered NYC punk scene of the mid-1970s. With Patti Smith leading the charge -- she covered the Velvets frequently   -- John Cale and Lou Reed suddenly found themselves with a whole new generation of acolytes. What to do with these feedback-worshiping followers? Why, get onstage with them, of course. This tape, recorded during the Bicentennial summer of '76 (a fantastically fertile period brought vividly to . . .

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Peter Howe :: I’m Alive (Morning Of The Earth)

Our brother in arms, Turquoise Wisdom, entered the digital sphere last month with Play As It Lathes, an audio diary of recently ripped vinyl from his stacks. The January 9 entry highlights the lethargic, faded vibe that is Peter Howe's "I'm Alive", culled from the soundtrack to 1971's seminal Aussie surf film Morning Of The Earth.  . . .

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Are Your Songs Rabbits? :: Wooden Wand Interviews Howe Gelb

Our Longshots series returns with two of the more prolific voices working in music today -- Wooden Wand's James Jackson Toth and Giant Sand's Howe Gelb; both of whom just saw album releases this year, Blood Oaths of the New Blues and Tucson, respectively. The artists, left to their own devices, below.

James Jackson Toth: So, with Tucson, you’ve created this very compelling narrative about this strange character that seems, to me, equal parts Don Quixote and The Gunslinger. Did the narrative give birth to the songs, or was the narrative written around the songs?

Howe Gelb: The liner notes were made up after the fact. Every album is a bit like a Rorschach blotch and we all kinda, in our mind, figure out what’s going on and what the songs are about. You know, like Ziggy Stardust, where there’s an obvious story there, even though there never was one. It was never offered up — your mind just sorta puts it together. Anyway, when we got all the songs done I just looked at ‘em all and thought — is there an order here? Do they tell any kind of a story? Kinda like reading tea leaves.

JJT: That’s kind of amazing, that you did it backwards, because, as far as concept albums or rock operas go, it’s a pretty cohesive story. More so than, say, Quadrophenia or something.

Howe Gelb: The way that my mind works, that made the most sense to me. I thought “Why presuppose in advance and set yourself up for all of that stress and potent failure?” But if you allow it to just happen by itself — which is what I try to do in most of these situations, let nature handle what nature handles best — then you can use your mind to see the pattern. The storyline was written in less than two hours, all that stuff, because…well, my daughter really wanted to go for a bike ride. So everything you just described, the whole Don Quixote / Gunslinger thing, that’s probably in your mind. That’s the part you’re playing in the whole thing.

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Retribution Gospel Choir :: 3

On paper, it was always supposed to be easy to divide Alan Sparhawk’s work between his long-running trio Low and his rock ‘n’ roll outfit Retribution Gospel Choir. Low is the taut one, minimal and terse, defined by the hushed, close harmonies of Sparhawk and drummer/vocalist, Mimi. Retribution Gospel Choir, on the other hand, sounded like Sparhawk's lost weekend, a ballsy tear through the “rawk” tendencies Low often derived power from restraining . . .

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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.

Podcasts archives: Sidecar: Transmissions

SIRIUS 280: Jean Michel Bernard — Generique Stephane ++  Relatively Clean Rivers - Easy Ride ++ Clover — Mr. Moon ++ Daniel Moore — May, 16, 1975 ++ Goose Creek Symphony — A Satisfied Mind ++ Bob Martin — Captain Jesus ++ Elyse — Houses . . .

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The Everly Brothers :: Kentucky

Don and Phil Everly were, respectively, 19 and 21 years old when "Kentucky" appeared on the Everly Brothers LP, Songs Our Daddy Taught Us, in the summer of 1958. Just kids who were making a name for themselves with hits like "Bye Bye Love" and "Wake Up , Little Susie," pure shots of Eisenhower America innocence made sublime by those oft-imitated but never matched close vocal harmonies. But "Kentucky" is something else, a vision of the green grass of home, with an air of longing that make even those crystalline voices ache with world weariness.

It's . . .

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Elyse :: Houses (w/ Neil Young)

I slid this slice of psych-folk into the latest Sidecar podcast (Transmission 11) earlier this week to a number of inquiries. The provenance of "Houses" is via the 2001 Orange Twin reissue of Elyse Weinberg's 1968 self-titled debut. That's Neil Young lending a hand on guitar, and his appearance reportedly marks the first recorded document of Shakey making use of his distinctive . . .

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Jesse Ed Davis :: Jesse Davis / Ululu

Backing Taj Mahal in The Rolling Stones’ Rock and Roll Circus, Jesse Ed Davis plays guitar like a stone cold badass. His face looks almost too at ease to be lucid and focused, yet his deliberate licks on the telecaster are perfectly understated and soulful. When the band drops out during “Ain’t That a Lot of Love,” Davis takes a coolly restrained solo that’s all punchy rock licks but the antithesis of gauche . . .

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Lena Hughes :: Queen Of The Flat Top Guitar

An exceedingly rare, private-press holy grail recorded in the early 1960s, Queen Of The Flat Top Guitar (now given 21st century life by the Tompkins Square label) is the lone recorded evidence of Lena Hughes. Though only clocking it at 23 minutes, you can hear a lifetime's worth of music in these celestial fingerpicked guitar instrumentals. The 11 tracks gathered, either adapted fiddle tunes or parlor music from the 1900s, are concise, plaintive and uniformly beautiful, a glimpse into a bygone age that drifts further . . .

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