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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 286: Jean Michel Bernard — Generique Stephane ++ Twin Peaks - Stand In The Sand ++ The Peoples Temple - More For The Masses ++ Phosphorescent - Song For Zula ++ Songs: Ohia - Farewell Transmission ++ Magnolia Electric Co. - The Night Shift Lullaby ++ Magnolia Electric Co. - The Dark Don't Hide It ++ Bonnie 'Prince' Billy - Master & Everyone (Live) ++ Bonnie 'Prince . . .

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Phosphorescent :: Muchacho

Believe that album cover for three minutes and twelve seconds. That’s how long it takes for Matthew Houck, the Alabama native better known as Phosphorescent, to finish the high-harmonic tilt of “Sun, Arise! (An Invocation, An Introduction)” and drain it into the aching, pained, sublime “Song for Zula.” If you’ve been following Houck’s exploits for long enough, “Zula” is only the next piece of evidence in the long case to be made for his specific genius: Very few people write, much less perform, about heartbreak with this much conviction. “Honey, I saw love,” Houck sings. “It . . .

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Lee Hazlewood :: Trouble Is A Lonesome Town

For years, one of my rituals when hitting up record stores was a quick visit to the Lee Hazlewood section -- alternately located, depending on the shop, in 'country', 'rock', or the most perplexing, 'oldies'. You could occasionally find old, beaten down, used vinyl or foreign-pressed (often shoddily produced) import CDs. Other than that locating Hazlewood's music was often left to best-of compilations -- and typically just the Nancy Sinatra collaborations at that. Even finding Hazlewoood's music via (legal) digital outlets has proved difficult. But there is good news…

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Swamp Dogg Speaks :: The Aquarium Drunkard Interview

Jerry Williams Jr. didn’t adopt the handle “Swamp Dogg” in the early ‘70s in order to confuse, obfuscate, or mislead anyone. To hear the man tell it, he took on the name because it was imperative to do so. “It was born out of a necessity, to find myself, my identity,” the 70-year-old singer says via phone from his home in Southern California. His voice is pitched high, laced with a strong Southern accent that betrays his Georgia roots.

“I didn’t know who Jerry Williams was for a while. That’s when I started having a lot of acute anxiety. Here I had agoraphobia and claustrophobia, at the same motherfucking time. Swamp Dogg wasn’t afraid of anything, where at that time Jerry Williams was afraid of his shadow. I knew Jerry Williams was still the motive for Swamp Dogg; it was like putting a Chevy motor in a Rolls-Royce. That’s what made it run. It’s not really a Rolls, you know? It’s a Chevy that looks like one.”

This month sees the re-release Swamp Dogg’s gonzo soul classics Total Destruction to Your Mind and Rat On!, via California-based label Alive Records. Originally released in 1970 and ‘71 by Canyon Records and Elektra, respectively, the records exhibit the organic change from “Little” Jerry Williams — who’d recorded R&B platters and worked for a short stint as a staff producer at Atlantic — into the wild and feral Swamp Dogg.

MP3: Swamp Dogg :: Creeping Away

Total Destruction’s title track roars with amplified funk boogie, with guitarist Jesse Carr and drummer Johnny Sandlin providing fuzz and a gutbucket beat. The song establishes Swamp Dogg as a character on the same wavelength as rock’s avant garde, with gritty, hard-edged melodies, and a clear admiration for blue-collar country. But it’s not all bombast: Rat On! delivers a couple exquisite weepers, like the tender Bee Gees cover, “Got to Get a Massage to You” and “Predicament #2,” where Swamp mourns a bad situation: he’s got a great wife, but he’s also got a great mistress. Why can’t one woman be both?   “Back then, people were like, ‘Why would someone call themselves a dog?’” he laughs. “People would come down on me because I named myself Dogg. People would say, ‘Why would you name yourself that? What’s your real name? I’m not going to call you that! I’m going to call you by your real name,’ and I said, ‘You can call me by Kiss-My-Ass, you know? I am Swamp Dogg, you motherfucker, and that’s it.”

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Chris Forsyth :: “The First Ten Minutes of Cocksucker Blues”

Even though Cocksucker Blues, Robert Frank's legendary film of the Rolling Stones circa 1972, is routinely referred to as a "documentary," that's not quite accurate. Frank himself tips his hand right in the opening moments: "Except for the musical numbers the events depicted in this are fictitious. No representation of actual persons and events is intended." Of course, this statement may be after-the-fact ass-covering, due to the various illegal activities taking place on-camera in Cocksucker Blues. But i . . .

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Neil Young & The Santa Monica Flyers :: Manchester, 1973

If we've learned anything from the music of Joy Division and The Smiths, it's that the good people of Manchester, England, can handle bleak, uncompromising music. They were certainly given a bracing shot of it on this autumn night in 1973, as Neil Young opened a seven-date tour of the UK. With the Eagles opening up, the crowd undoubtedly anticipated an evening of laid-back country rock a la Young's platinum Harvest, which had been released a year and a . . .

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Scratch The Surface :: The Last Of The True Believers

(Album artwork: Does it indeed affect our listening experience, and if so, how? Scratch the Surface takes a look at particularly interesting and/or exceptional cover art choices.)

I got into Nanci Griffith in high school, but I didn't talk about it with anyone much. Loving Nanci was kind of like my love for all those sitcoms from the 50s and 60s that I watched reruns of while growing up - it just wasn't that hip. Her music always seemed to emanate from some time-capsuled era where things were just a little bit simpler. What I didn't realize at the time was that Griffith hailed from the Austin, TX music scene of the 1970s - a hotbed of the country revivalist movement and the eventual alt-country community. A lot of the music from Austin in that era was reaching back to an earlier version of country and folk. It just happened that Griffith's music was on the sweeter, softer end of that spectrum.

Her fourth album, The Last of the True Believers, was released in 1986 and the album was her last for Philo/Rounder as it garnered enough critical and commercial support to get her a deal with MCA. It was also home to "Love at the Five and Dime" which would be taken to number three on the Billboard country charts that same year by Kathy Mattea and was also the foundation of the cover art of the album.

Woolworth's is the central setting of "Love at the Five and Dime" and the cover photo of The Last of the True Believers is taken outside of a Woolworth's store. The photo is set up like a triptych, with two couples on either side of Griffith in the center, and either side representing different eras outside of the same location. To the viewer's left is a man (John T. Davis, then a current music writer for the Austin American-Statesman) dressed in certifiable 80s garb (sport coat, tie and shirt, jeans) talking with a woman in red, sparkly heels, white socks, fishnet stockings, a black skirt and an Austin Moose Lodge jacket. The man and woman are re-enacting the rough story of "Lookin' for the Time (Workin' Girl)" from the album, a song told from the vantage point of a prostitute trying to ditch a john who's wasting her time while she's working the corner. Behind them, the Woolworth's store window displays its Christmas wares and the signage in window points to its 80s origins as well.

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Joseph Hein :: Blinded / Holy Hive EP

“We can do that one more time” someone faintly says in final third of “Blinded.” So is the imprecise nature of the entire Holy Hive EP. They’d be demos if there were anything to add; instead, any impreciseness is as welcome an addition as any of its inherent elements.

Joseph Hein doesn’t mince words. “Don’t abide by me, given my mind and the way I see.” He apologizes, but he knows his heart was in the right place. Now, it’s shards have been flung about . . .

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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 285: Jean Michel Bernard — Generique Stephane ++ Alex Chilton - Boogie Shoes ++ Devo - Uncontrollable Urge ++ X - The Once Over Twice ++ Mikal Cronin - Apathy ++ Fuzz - This Time I Got A Reason ++ The Creation - How Does It Feel To Feel (US Version) ++ Mac DeMarco - Baby's Wearing Blue Jeans ++ Iggy And The Stooges - Gimme Danger ++ Canarios . . .

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Chris Stamey :: The Aquarium Drunkard Interview

It's hard to talk about North Carolina's musical legacy - or even indie rock in general - without mentioning Chris Stamey. As a founding member of the dB's, Stamey often played the chaotic, challenging flip-side to Peter Holsapple's shining pop and their music was all the better for it. After leaving the band following their second album, Stamey released a number of solo records in addition to working as a producer as well as eventually reuniting with the band to release last year's Falling Off the Sky. Last month, Stamey released his latest solo album, Lovesick Blues, on Yep Roc Records. Stamey guested on AD contributor J. Neas' weekly radio show on WQFS in Greensboro, NC this week ahead of a performance this Saturday in Winston-Salem. Below you can check out a partial transcript of the interview as Stamey discusses playing the new album live with a 20 piece orchestra, what it takes to get music out of your head and on to tape, his work with other North Carolina musicians and the origins of Yep Roc Records' name.
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Aquarium Drunkard: You've got a new album out called Lovesick Blues, but you're also playing this Saturday at the Southeastern Center for Contemporary Art as the seventh installment of their Crossroads series. I want to talk a little about that - it's kind of special. For people who have seen you live, this is a unique treat in that it's Chris Stamey and the Fellow Travelers which is a 20 piece chamber orchestra and rock band.

Chris Stamey: Well, I think about this like I shot a movie, and now we're putting on a play. We recorded this record with a bunch of the great players around Chapel Hill right now. They'd come in one by one and I'd already have a lot of the stuff notated, written out for them. Sometimes they'd just come in and let a guitar feedback for an hour and we'd pick our favorite parts. This is a pretty normal way to make a record; you invite your friends over, you write the music. But now that that's all done, we've written it out again for live performance. We're actually doing it with a lot of the textures that are actually on the record. The record has a lot of woodwinds, string, orchestral percussion, brass. It's not just the band, though there are a lot of guitars, too. We have a lot of string players - Lost in the Trees, if you're familiar with them. The Old Ceremony. There's a really great scene in Chapel Hill right now, and in all of North Carolina, really, of people who can improvise wildly and who can also read music. This will be the first time we've played the whole record live together, trying to come as close to the spirit of the orchestral textures on the recorded version.

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Clifton’s Corner :: Volume 18 – James Hunter / The Strypes

(Volume 18 of Clifton’s Corner. Every other week on the blog Clifton Weaver, aka DJ Soft Touch, shares some of his favorite spins, old and new, in the worlds of soul, r&b, funk, psych and beyond.)

It’s been a while since the last Clifton’s Corner post. I’m truly sorry for the long wait but as Dr. Winston O’Boogie once said, “Life is what happens while you’re busy making other plans”. Even though I’ve been distracted from writing, I have been keeping up on music and have a couple of things I’ve been dying to share.

The first is some new music by an old favorite of mine, James Hunter. I was first introduced to his music around the time People Gonna Talk was released. I was blown away by his vocals and arrangements and immediately purchased the album. In a previous Clifton’s Corner, I mentioned the renewed interest in late 50s/early 60s r&b sounds and James Hunter’s People Gonna Talk was one of the first times I’d heard a current act that really had a handle on that sound. As a massive fan of Daptone, I was overjoyed to hear that Hunter’s latest release, Minute By Minute, was recorded at Gabe Roth’s Daptone studios. “Chicken Switch” is a sample of what can be expected when the album is released on the 26th of February. Here are two from the People Gonna Talk record that initially blew me away and cemented my fandom.

MP3: James Hunter :: No Smoke Without Fire
MP3: James Hunter :: Don't Come Back

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Don Bikoff :: Celestial Explosion

The Tompkins Square label has been digging deep into the uncharted regions of the Takoma School for more than a decade now, emerging on a regular basis with previously impossible-to-find gems from such obscure guitarists as Harry Taussig, Mark Fosson and Peter Walker. At this late date, you might assume the bottom of the barrel for this particular genre had been reached -- but you'd be wrong. Tompkins Square's latest archival release, Don Bikoff's Celestial Explosion, is a stunner. While the 1968 LP will . . .

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Endless Boogie :: Long Island

In a recent interview with the Village Voice, Endless Boogie’s Paul Major credits the band’s former bassist with inventing the credo “When you get there, you gotta stay there.” Given their fifteen-year run of making good on their moniker, this slogan should be emblazoned on the Endless Boogie family crest. With the brand new double album Long Island

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Carnivores :: Pillow Talk (featuring Bradford Cox)

Latest dispatch from Atlanta's Carnivores, featuring Bradford Cox. Culled from the sessions from the band's forthcoming LP, Second Impulse, due out in June.
MP3: Carnivores :: Pillow Talk (featuring Bradford Cox . . .

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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 284: Jean Michel Bernard — Generique Stephane ++ Father John Misty & Phosphorescent - I Would Love You ++ Phosphorescent - Song For Zula ++ Sandro Perri - Changes ++ Destroyer - Chinatown ++ Dirty Three (w/ Cat Power) - Great Waves ++ Jacco Gardner - Clear The Air ++ Mikal Cronin - Apathy ++ Alex Chilton - My Rival ++ Gary Numan - Airlane ++ Liquid Liquid - Optimo ++ Carnivores - Pillow Talk . . .

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