Jerry Lee Lewis’ 1966 album, Memphis Beat, is filled to the brim with covers ranging from the Louisiana classic “Mathilda” to the country standard “She Thinks I Still Care.” But in the midst of all the mediocre covers, The Killer still manages to deliver two and a half minutes of greatness. Lewis’ sole writing contribution lies buried on side 2 in the form of an upbeat tributary anthem to our late great 35th president. “Lincoln Limousine” walks a thin line between brilliant and cheesy but manages (with the help of hypnotic piano rolls) to sway to the side of brilliance. words / p dufrene

Jerry Lee Lewis :: Lincoln Limousine


The psychedelic cowboy known as Lee Hazlewood was a force unlike any other: his deep baritone, his effortless cool, his expansive, boundary-pushing production and, perhaps most of all, his immense talent for composition. It’s the latter two that, lately, have caused his rendition of Tom Rush’s “No Regrets,” from The Cowboy & the Lady, his 1969 collaborative album with Ann-Margret, to cut deep and true.  From the very first notes, the guitars, layered and emitting a palpable sense of freedom, resonate powerfully. It’s country, in a late ‘60’s free-folk sort of way, but the forlorn harmonica, the soft cooing of the backup singers and those gleaming guitar notes after Lee repeats “no regrets” transform the song into something else– into its own intangible entity. The song sounds like nothing else and Lee’s lyrics are haunting and transient. “Goodbye dry eyes/I watched your plane/fade off west to the moon/and it felt so strange/to walk away alone…” The affirming title and chorus are undercut by the ghost of his former lover, and that strange tension between looking forward and a haunted past lends the song an even stranger, more haunting and near indefinable beauty. words / c depasquale

Lee Hazlewood :: No Regrets


This *might* make it into a film I am presently working on. Regardless, you need it in your life.

Gilbert O’Sullivan :: Alone Again (Naturally)


As highlighted here recently, the recent crop of Mike Cooper reissues from Paradise of Bachelors are utterly essential. Fearlessly eclectic, masterful stuff. And judging from Cantos De Lisboa, Cooper’s brand-new collaborative LP with Steve Gunn, the man has lost none of his sense of adventure. Both musicians are steeped in the folk/blues idiom (most obvious on a righteous rendition of Charley Patton’s “Pony Blues”), but they use it as a launchpad not a dead-end street. Dig the gorgeous opening acoustic drift of “Saudade do Santos-o-Vehlo,” with Cooper and Gunn’s guitars twisting and tangling for seven-and-a-half transfixing minutes. Or get lost in “Lampedusa USA”‘s noisy landscape, as Cooper testifies over a bed of droning feedback. Cooper’s 70s LPs cover a lot of musical ground, but Cantos shows he’s still got plenty of roads to travel down. words / t wilcox

2013 Pickathon Ben Garvey- IMG_0933

Ty Segall Footage performing “Girlfriend” (last summer in the Galaxy Barn at Pickathon) at the Pendarvis Farm in Happy Valley, Oregon. This year’s festival is happening August 1-3. We’ll be there again, DJing. Details, here.


Black sand blues. More freeform interstitial airwave debris transmitting somewhere off the coast of Los Angeles. This is transmission fourteen.

Direct download, below. The first thirteen transmissions can be found and downloaded, here.

MP3: Sidecar: Transmission / 14

Intro / Strung Out
The Soul Inc. – Love Me When I’m Down
Jerry And Jeff – Voodoo Medicine Man
Dion – Baby, Let’s Stay Together
Apple & The Three Oranges – Curse Upon The World
T.L. Barrett And Youth For Christ Choir – Like A Ship
Eddie Bo & Inez Cheatham – Lover And A Friend
Tony Owens – I Got Soul
Famous L. Renfroe – Introduction
Big Sambo & The House Wreckers – The Rains Came
Alton Ellis – Whiter Shade of Pale
The Flamingos – I Only Have Eyes For You

Subscribe to future transmissions via iTunes and/or through the RSS, HERE. Imagery via d norsen.


For those familiar with the sentiment, Kristofferson never penned or sang a sadder song — and no version is more potent than this, found on the 2010 collection the Publishing Demos 1968-1972.

Kris Kristofferson :: Please Don’t Tell Me How The Story Ends (demo)


M.C. Taylor’s Hiss Golden Messenger albums weave a lot of layers into the songwriter’s work – folk, blues, gospel, touches of psychedelia, boogie, and raga – but with “Saturday’s Song,” a taste from his upcoming  Merge Records debut Lateness of Dancers, Taylor eases into an AOR groove, coaxing AM gold vibes that radiate with warmth. There are always dark fringes to Taylor’s words, and here he sings about escaping the mundane confines of the work week, singing about Saturday like it offers the only solace the narrator knows, but there’s always hope too, the idea of salvation or transcendence lingering somewhere out there, in some good whiskey or some holy book.

Lateness of Dancers features contributions from Taylor’s longtime collaborator Scott Hirsch, the Cook brothers of Megafaun, guitar work courtesy of AD favorite William Tyler, Alexandra Sauser-Monnig of Mountain Man, and others. It’s out September 9th and available for pre-order now. words / j woodbury

Related: Hiss Golden Messenger :: The Aquarium Drunkard Interview

Gil Scott-Heron (1994) Spirits

Been way deep into this one over the past few months, Gil Scott-Heron’s Spirits. Released in 1994 it was Gil’s penultimate LP (he would not release another album until 2011’s I’m New Here, his last). Here’s a taste, the album’s opener – the superbad “Message To The Messengers”.

Gil Scott-Heron :: Message To The Messengers

Related: Originals: The Story Of Gil Scott-Heron – Full Documentary