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Jerry Jeff Walker :: Driftin’ Way Of Life

It kind of amazes me that nobody seems to know the man behind one of the world's most well-known songs. Not that this is too uncommon, it's just that Jerry Jeff Walker's music is so damn good for the heart it's a mystery why he never became a household name.

Walker wasn't technically native to Texas, hailing from Oneonta, New York, but . . .

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Off The Record :: Dios, Los Angeles, CA (The South Bay)

Off The Record is a recurring feature here on the Drunkard that marries two of my greatest interests; music and travel. Having a locals perspective when visiting a new locale is the difference between experiencing it through the lens of a tourist and of that of a native. Off The Record gathers some of my favorite artists, asks them to reflect on their city of residence, and choose a handful of places they could not live without -- be them bookstores, bars, restaurants or vistas.

Dios are back. Not that they really ever left, but back in the sense that have reverted to their original name (lost the Malos bit), are teamed with a new label, and have been releasing free singles and EPs in preparation of their new full-length. In addition to the new LP, I've been extra excited about today's OTR installment as Dios call the South Bay home, an area of L.A. I know little about, and has never been featured here in the past. Further proof how enormous this city is. Below, Joel Morales takes us on a tour of some of his hometown haunts. I clearly need to try this Prontos taco joint.

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Fire In My Bones :: Raw, Rare & Otherworldly Gospel (1944-2007)

Remember Moby? Sure you do. In the late 90s he went from a relatively obscure DJ/musician working the underground dance circuit to a bonafide mainstream pop artist. For a solid 24+ months his music could be found in what seemed like every other film, commercial and television show running. And if memory serves, the album the songs were culled from, Play, was the first LP to be licensed in full---unknowingly setting a precedent for music licensing today.

Play borrowed heavily from . . .

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SIRIUS/XMU :: Aquarium Drunkard Show

Our weekly two hour show on SIRIUS/XM, channel 26 (SIRIUS), and channel 43 (XM), can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST. Below is this week’s playlist.

SIRIUS 123: Jean Michel Bernard - Generique Stephane ++ Vic Chesnutt - Degenerate ++ Vic Chesnutt - Everything I Say ++ Vic Chesnutt - Coward ++ Vic Chesnutt - Flirted With You All My Life ++ Megafaun - The Fade ++ J. Tillman - Steel On Steel ++ Vic Chesnutt & Liz Durrett - Somewhere (from . . .

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Group Doueh :: Guitar Music From The Western Sahara

Whatever else Ryan was doing over the holidays, it sounds like we were listening to the same podcasts. On Guitar Music From The Western Sahara, Group Doueh and company filter trad Saharan frequencies through 60s and 70s rock, psych and funk. The fruits are a hypnotic blend of non-western otherness that scratches an itch for those . . .

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Quincy Jones & Bill Cosby :: The Original Jam Sessions 1969

Yeaahh. Go ahead, take a look at who plays on this; the album's contents are as fresh as they look. See if this doesn't warm you up. A long time staple around here, I just dusted off "Hikky Burr" for a new mix. The savvy will note this was the original Bill Cosby Show theme song back in the early seventies---long before Lisa Bonet and the gang . . .

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Bob Mould :: Workbook

I used to own this on CD; a couple of times actually, or maybe the first time my introduction was via a dubbed cassette from a friend. Yeah, that's more likely. Anyway, until a couple of months ago, when I downloaded it, I hadn't heard Workbook in years. Years. I found a cheap used vinyl copy and slowly we've begun to get reacquainted. But on different terms---as I'm no longer a teenager listening in my car on the . . .

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Bowie :: Let Me Sleep Beside You (BBC Radio Session DLT Show)

Bowie's Space Oddity LP has never ranked as one of my favorites in his catalog---and one would be hard pressed to hail it as essential---but damn if the 2nd disc of this new reissue doesn't just keep bringing me back. Tracing various sides of Bowie's early persona, from rough-hewn to orchestrated, the set paints an alternate side of early Bowie. The BBC tracks are worth he price alone, and "Let Me Sleep Beside You" culled from the BBC's   DLT radio show has been on repeat for weeks. The track kicks off with an interview snippet with Bowie discussing his newfound success with the track "Space Oddity" before breaking in song. Very telling of the sound of the Ziggy persona who was soon to emerge.

**You can stream it after the jump, as I cannot get the code to work without the "auto-play" feature switched on which is highly annoying to those who do not want to hear it.

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Bob Dylan :: Yesterday (CBS Studios: Nashville/NYC Outtakes)

As nice as the official 'bootleg series' releases have been over the past 10+ years, it's the unofficial stacks I regularly find myself turning to when looking for an off-kilter Dylan fix. Long available in trading circles (at times known as the Yesterday bootleg) the following two sessions were cut in '69 and '70 at CBS studios in Nashville and New York City respectively. George Harrison guests on the NYC session, and it . . .

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Tom Waits :: Nighthawks On The Radio / 1976, WNEW-FM NYC

"This was a show I recorded with Tom in December of 1976 that was originally broadcast on WNEW during my first sojourn at the station. I played this rare one-hour tape tonight as my contribution to the station's "From The Archives" weekend. Tom and I (and drummer Ralph Ebler) taped this at a studio in town - Tom at the piano, Ralph on snare and high-hat; it was unrehearsed, unscripted and totally cool! This is the first time the show has been aired in its entirety since the original broadcast almost 20 years ago . . .

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Decade :: Wilco, Yankee Hotel Foxtrot (2002)

This is it---the final entry in our Decade series. Since the beginning of October we've been highlighting albums released over the past ten years that made an impression---that made a difference. While we could not possibly feature all of our favorites, we did get through a good amount before the clock ran out and 2009 gave way to the new decade. It's been an incredibly eye-opening experience revisiting these titles, some of which we hadn't listened to intently in . . .

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Decade :: Jim White, No Such Place (2001)

No Such Place is an album I have come back to over and over again this past decade. Its fusion of varied production (and producers), Southern Gothic story telling and haunting lyrics have caused me to examine its face closely and in different detail over the . . .

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Decade :: The National, Alligator (2005)

The National craft mood music. In the span of four albums and an EP they have created a niche of elegant and dark atmospheric rock bolstered by vocalists Matt Berninger’s languid baritone and everyman poetics. These are the 21st century blues for those of us who grew up in the ‘80s. A world view framed by three decades worth of anxiety, mild paranoia, and disappointment -- a vision fully, and flawlessly, realized on the group’s third album become a member or log in.

Decade :: The Hold Steady, Boys and Girls in America (2006)

I’m not going to qualify anything here–it’s tempting to get into a semantic argument about the differences between “best” and “favorite” records to explain why I think that twelve old-time rock ‘n’ roll songs spoke-sung by a broken Catholic is better than anything this decade by Radiohead, by Animal Collective, by Wilco (as much as I adore all three of those groups). Did become a member or log in.

Decade :: Radiohead, Kid A (2000)

Radiohead's Kid A is advanced. You know this because you've listened to it. You know this because countless writers and critics and friends and foes have told you so. Dozens, maybe hundreds, of people who know more about the band than I do have spent countless hours in hopes of understanding the record and several more hours trying to condense their findings for you to read. And if you haven't read those--just a hypothetical, of course, because you have--then you . . .

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