Back here on the L.A. homefront -- multi-lingual afro-pop enthusiasts Fool's Gold, who have signed with Los Angeles based IAMSOUND Records, just released "Surprise Hotel" the first single from their full-length debut due out this September. If you're local and did not catch one of their appearances at the Echo in April, you may want to get on it. Highly recc'd.
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Ahoy, J. Neas here. AD is heading to the Pitchfork Music Festival at Union Park in Chicago next weekend. I'll be uploading recaps of each day's festivities on AD as well as updating my personal Twitter account on a frequent basis. No promises that some of those tweets won't be me grumbling about wanting a Chicago style hotdog. Just a heads up. Below are a handful of the . . .
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It has to be intimidating - building a legacy. The shadow that Uncle Tupelo has cast across the alt.country genre for the past 20 years is an enormous one, no matter what your opinion about their music. It's Jay Farrar who seems to have lived most in the wake of his former band, at least critically. New projects from Farrar are still - though not nearly as often - dragged through the comparison process against . . .
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It's hot out there today -- this should help. I happened upon this cover of the Ronettes "Be My Baby" a couple of weeks ago via the power of...wait for it...twitter. Chris, from GvsB, left a tweet (yeah, I hate that word) directing the world to the folks over at Mad Decent who had posted a sixties Spanish language cover of the tune by the long defunct . . .
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"If you build it, they will come," or in the case of Yo La Tengo, if they record it I will most likely eventually get around to listening to it -- whatever the it may be. In this case, the it in question is a collection of tracks the group scored for various films over the years (Game 6,
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(Several months ago Jeff Leven, whose byline you'll recognize if you're a Paste reader, and I were discussing music and that of young fandom. Leven told me a great story, from his college days in the '90s, related to Wilco, the power of an album, meeting your idols...and the days of fax machines. With 'Wilco (The Album') now on shelves, Leven decided to share his tale here on AD. Enjoy)
The Fabulous Satellite Lounge in Houston, Texas scurried at the frayed edges of Austin’s shadow. Literally on the wrong side of the tracks on the deader side of downtown’s outermost sprawl, it was housed in what I was always told was an old bank building. Rockefeller’s — the upmarket showcase club next door — lived in relative opulence in what used to be the bank lobby, while the Satellite, was, unequivocally, what used to be the vault. Décor consisted of a few oil lights spiraling against the concrete, and the bar ate half of the ample floor space. If my teenage bedroom was the cauldron where my obsession with music was concocted, for a time the Satellite was one of my most consistent markets for new ingredients. In a town where the glint of new oil money had slapped fresh varnish across the face of the innumerable strip malls that sprung out of the prairie mile-by-mile across an astounding radius, the Satellite was soulfully dank, that slight bit lonesome and thrillingly almost urban. It wasn’t a scene per se - there was a mild teenage punk rock scrum at a few venues well up the street. The classic Townes n’ blues scene had all but died, only to occasionally revisit Rockefeller’s for $50 a ticket. The Geto Boys were about at their peak but well off my radar. Occasionally you’d catch Billy Gibbons buying floppies at the Compuserve near the Galleria. But most of the time you’d drive and drive through the humid wall of air blaring Rush’s “Subdivisions” on KLOL and wondering how a trio of Canadians had so well figured out a place where they undoubtedly had never spent more than a week. So when the Satellite stumbled into its mid 90s alt country booking jag, it was a slapdash stroke of small “d” destiny.
I never saw Wilco at the Satellite. The Internet tells me they played there, apparently including the night of my 18th birthday, and then again the next November. Instead I saw Son Volt.
Continue Reading After The Jump....
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Next Thursday, July 16th, Aquarium Drunkard presents Son Volt and Cowboy Junkies live at The Wiltern in L.A. Son Volt are touring behind American Central Dust their new LP released last week on Rounder Records.
We are giving away a bunch . . .
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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 102: Jean Michel Bernard - Generique Stephane ++ The Tallest Man On Earth - I Won't Be Found ++ Neutral Milk Hotel - Holland, 1945 ++ Guided By Voices - Are You Faster ++ The Olivia Tremor Control - Memories of Jacqueline 1906 ++ Pylon - Cool ++ Talking Heads - Born . . .
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Last week I was working on an acoustic-based folk playlist for my show on SIRIUS/XM. Halfway through I wound up scrapping it as my mood changed, and if music is anything it is mood. The second track, following The Tallest Man Alive, was Jim James' cover of the Beatles "Long, Long, Long" which was just released this week on Tribute To, his tribute to the late George Harrison.
Recorded in 2001 . . .
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File under: New to me. Denton, TX outfit The Baptist Generals released No Silver/No Gold on Sub Pop in 2003, but I didn't catch wind of it until this May while visiting a friend in Atlanta. While definitely not an . . .
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The first time I heard Emitt Rhodes self-titled debut LP from 1970 I must have listened to it, and it alone, for a straight for a week. It's that kind of album. Recorded in Rhodes' home studio the album is a near perfect piece of unabashed McCartney influenced pop. Recording to four track tape, writing all of his own material and playing all of the instruments, the album has that indescribable intimacy . . .
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I twittered about this bit of Pavement related news a couple of weeks ago, but in case you missed it...Scott Kannberg, aka Spiral Stairs, is set to release his solo debut October 20th via Matador Records. Note this is not to be confused with Kannberg's initial post-Pavement project Preston School of Industry.
Release Details: Following an extended sojourn in Melbourne, Spiral returned to Seattle rejuvenated at the . . .
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In 2007 we posted the at the time unreleased 1969 CSN demos; 16 of them, all very much worth tracking down if you're a fan of the debut LP. Last month an alternate set of demos was officially released (12 tracks), via Rhino Records, dubbed the become a member or log in.
In the spirit of the residual frenzy surrounding the release of volume one of Neil's archives, we continue with the Neil Young reposts. Below is part 1 of 2, of Volume II, of the Perfect Echo compilation chronicling the years 1978-1984. Stay tuned for part two.
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For those interested in the back story, here are notes on the series via sharing the groove:
"Braden Strickler has done it again. He's compiled and lovingly mastered, almost exclusively from soundboard recordings, an 8-DISC SET which runs chronologically from August 1967 to January 2001. It's like an expanded version of the "Rock 'n' Roll Cowboy" concept, but with far superior sound.
This is a compilation of soundboard recordings from 1967-2001. The term soundboard is a bit of a misnomer. By soundboard I mean, basically, not an audience recording. Some are true soundboards, while others are FM, TV, ALD, or video-sourced recordings. The recordings were all taken from cdrs or videos that are circulating in the trading community. There are a total of 115 tracks (109 songs, as 6 get repeated). Some years were heavy with available recordings (1976 and 1989 come to mind). I tried to balance the set by not using too many songs from a single show. The entire 8 discs run in, roughly, chronological order.
+ Tracks removed per Neil Young's attorney's request......
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