martelliIn a time when the word “epic” is wildly overused and misused, it is unfortunate that the most honest definition of the adjective form so accurately describes this song. In fact, “epic” can be use to describe a large amount of Augusto Martelli’s film compositions during the early 70s. At their finest, these scores shine with their enormous orchestrations paired with large-scale, spaghetti western type tunes that serve as their own narration to gritty Italian cult and mainstream films. Martelli has worked on dozens of film scores but none have garnered as much acclaim as the score to 1971’s Il dio Serpente and it’s title track, Djamballà, which rose to the first position on the Italian hit parade. The slow build of bongos and symphonic ‘oohs’ and ‘aahs’ escalates to a climax of chants coupled with an avalanche of an organ freak-out that is only made more awesome by the fact that it is the theme for a serpent-god sex fiend. words / p dufrene

Martelli passed away Monday at the age of 74.

Augusto Martelli :: Djamballa

img-springtime-carnivore_093148741920Springtime Carnivore’s Greta Morgan is the pop artist we need right now. Her self-described “Technicolor daydream music” is luminous, catchy and strange – as danceable as it is pensive and atmospheric. Her self-titled debut, co-produced by Richard Swift, dropped this week via Autumn Tone.

Swift’s woozy, saturated trademark aesthetic is all over this record. Instrumental opener “Western Pink” feels like a cinematic sweep over a cosmopolitan sunset. “Collectors” is a sugary sonic rainbow, subverted by Morgan’s spookily evocative lyrics – “The dark branches of my family tree/my midnight insecurities.” Her voice, a gorgeous, full-bodied American West kind of voice, is mesmerizing and full of range, reaching powerful heights on the chorus of “Name on a Matchbook,” but turning intimate and direct on a lines like “Maybe in another life/maybe at another time/Have I met you somewhere before/I wonder as I shut the door.”

For fans of Swift’s echo-laden and reverb-drenched visions, there’s plenty to enjoy here, from the kaleidoscopic tunnel dream of “Sun Went Black “ to the glitchy mirage seduction of “Two Scars.” There’s a rich, lo-fi glory to the instrumentation. But there are equally strong moments when Swift takes a step back and lets Morgan’s unadorned magic steal the show. Her songwriting is vivid and dense, her visions nightmarish and romantic – a kind of Laura Palmer songbook.  “Other Side of the Boundary” boasts nothing more than her voice and guitar, with just a touch of reverb. “I’m a love song/just a love song, waiting/for the dance floor to fill in/to be of use for something.”

An auspicious debut, Morgan has arrived fully formed with unique and intoxicating blend of catchy, pop sensibilities and heady, eccentric passages on full display. She is the pop artist we need in these strange times – both familiar and enigmatic. Hopefully, we have only just seen the beginning. words / c depasquale

Springtime Carnivore ::  Sun Went Black


This Wednesday night, AD and KXLU present Twin Peaks at The Echo with Criminal HygieneModern Vices and Meatbodies. I’m djing. We’re giving away a few pairs of tickets – to enter, leave a comment with your favorite record from 1994. Tickets available, here.

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 363: Jean Michel Bernard – Générique Stephane ++ Springtime Carnivore – Sun Went Black ++ Tubeway Army – Are ‘Friends’ Electric? ++ Women – Eyesore ++ Deerhunter – Helicopter ++ So Many Wizards – Nico ++ The Art Museums – Sculpture Gardens ++ Harlem – Goodbye Horses ++ Knight School – Pregnant Again ++ Atlas Sound – So Sad (To Watch Good Love Go Bad) ++ The Soft Pack – Fences ++ The Brunettes – The Record Store ++ Pet Politics – The Ghost Mary & Her Friends ++ Dump – When You Were Mine ++ Diiv – Druun ++ Destroyer – Chinatown ++ Mac DeMarco – Ode To Viceroy ++ Rob Jo Star Band – Acid Revolution ++ Landline – Wire ++ Girls Names – I Lose ++ The Jesus & Mary Chain – Some Candy Talking ++ Brian Jonestown Massacre – Servo ++ Father John Misty – Fun Times In Babylon ++ Jessica Pratt – Back, Baby ++ Cat Power – Crossbones Style ++ Sonic Youth – Unmade Bed ++ My Bloody Valentine – Lose My Breath ++ Blur – Sing ++ Thurston Moore – The Best Day ++ Lower Dens – Tea Lights ++ Broadcast – Long Was The Year ++ Silver Jews – People ++ Twin Peaks – Ocean Blue ++ Modern Vices – Baby

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.

Little Richard I Need Love

While the music scene in 1960’s Los Angeles is far better known as a hotbed of surf, psych, and pop records, there was always a strong R&B scene in smog central. Being as L.A is undoubtedly the epicenter of American music, it’s no surprise that the results on wax include some superb Motown influenced discs, lush deep soul, hard hitting funk, and roof raising stompers.

Alice & The Soul Sensations :: The Funky Judge (1969)

A few things that ARE known about this one…The label was in Los Angeles, it was released in 1969, and it SMOKES the more familiar version by Bull & The Matadors- in fact, this is almost a completely different song!. There is no info whatsoever to be found out about the band and it looks like this was their only release. perhaps they operated under a different name????

Little Richard :: I Need Love (1967)

Little Richard cut some great sides in the period after he went lighter on religion and went back to the devil’s music (including the great deep soul cut “I Don’t Know What You’ve Got’…which features Hendrix on guitar) but it took Larry Williams as producer to get some of that old fire out of the Georgia Peach once again.

This cut 45 is one of the many great cuts from 1967’s “The Explosive Little Richard” which, as my friend Major Sean once said “You can just put it on when you’re DJ’ing and walk away.” Practically every cut is a great dancer, but Okeh records chose wisely when they issued this one as the single. Super hot stuff, and recorded around the time of the next selection; an era which found Larry Williams and Johnny “Guitar” Watson recording some incredible music and living a hardcore gangster life (which is well documented elsewhere). Collector’s note: the image shown is an ultra-cool French issued picture sleeve.

Larry Williams and Johnny Watson (with The Kaleidoscope) :: Nobody
Larry Williams and Johnny Watson (with The Kaleidoscope) :: Find Yourself Someone To Love

What a collaboration! There has been plenty written about the general thug life of Williams and Watson, and here they are doing what they did best, backed by LA’s kings of psychedelic world music, Kaleidoscope, for both sides of this extraordinary disc.


Gloria Jones :: Heartbeat (1965)

What can I say about this record other than the fact it’s one of my all time favorites? This is the type of record where inspiration, talent and an unbelievably excellent performance from all result in a record that, no matter how many thousands of times I’ve listened to it, blows my mind with each successive listen.

Producer/ songwriter Ed Cobb discovered teenage Gloria Joneswhile she was a member of gospel group The Cogic Singers. Gloria was already crossing over into pop, and the meeting with Cobb proved to be fateful. Her first single, “Tainted Love” has gone on to become not only a northern soul anthem in its original version, but also took on a second life in 1981 when the Soft Cell cover became one of the most popular new wave club hits of all time.

While there’s no denying the power and majesty of “Tainted Love”, to this listener ‘Heartbeat” is the greatest record that Gloria cut, and as I mentioned earlier, one of my all time favorites as well. Special props go to brilliant arranger Lincoln Mayorga (dig the hypnotic heartbeat rhythm section) and the organ (probably played, or better yet SLAYED by Billy Preston). Gloria’s voice here is the epitome of power and soul, and luckily for us, it’s spread out over two parts. I’m the type of person who finds a 2:40 single side to be musical perfection, but with a track like this, I’d be fine with it stretched out over an entire LP side (what yo hear here is an edit I pieced together of both sides).

Previously: Wax Wonders :: Chicago Soul, Part Two

(Derek See is a Bay area based musician who plays guitar with The Bang Girl Group Revue, Joel Gion & Primary Colours, and occasionally makes records on his own with The Gentle Cycle.)


This has been on constant repeat. Seriously. Via  On Your Own Love Again, out January 2015 – Drag City.

daniel bachman

Lagniappe (la·gniappe) noun ˈlan-ˌyap,’ – 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.

For this installment of the Lagniappe Sessions, Daniel Bachman takes on Jack Rose and William Moore. Bachman’s last LP, Jesus I’m A Sinner, ranks as one of our favorite LPs of 2013. Recording for Three Lobed, Bachman begins a fourteen date tour of the east coast November 12th. The artist, in his own words, below.

Daniel Bachman :: Levee (Jack Rose)

Jack is from the same town as me and when I was growing up there he kinda was the only proof that someone from there could get out there and make a living off of their music. Ive always been deeply moved by everything he put out and have never really felt comfortable recording his songs (for a number of reasons) but here goes my take on one of my favorites. I could listen to the high notes of this song sing for days pulling you along but not too hard. He’s still the man.

 Daniel Bachman :: Old Country Rock (William Moore)

Another (semi) local to where I grew up is Bill Moore. Moore lived in Tappahannock Virginia in Essex County located on the Rappahannock River. He was a barber and recorded for Paramount. His house an shop are gone but there’s a historical marker on Route 17 coming into town.  His version is a more slow drag and he sings “girls rock – boys rock – cross that river boys”  rhyming Tappahannock with Rappahannock. I love this song so much. Still working on getting it tight.

Lagniappe Sessions Archives / original illustration for aquarium drunkard by Ben Towle.

michelle-phillipsDig into this honey-coated gem from The Mama & The Papas.

From their 1971 album People Like Us, “Snowqueen of Texas” is a rich slice of mellow, golden folk pop. With soulful rhythm and warm, understated production, it’s a casual dance between grooving bass and drums, wavy guitar, twinkling keys, and toasty autumnal harmonies. It also contains some of John Phillips’ most interesting songwriting and clever ear for melody. The song paints a scene both vivid and vaguely warm, with phrases like “She’s living in a cool green farmhouse/if you go to Houston, be quiet as a mouse” and “She’s mending a fairy tale/reading her heart/that’s a good motto/for some junkman’s cart.”  The final verse takes an imaginative turn of melody, building a crescendo of the repeated “I’m on my knees/your majesty” as a subtly noodling bassline rides out with the groove. Simply put, this is perfection. words / c depasquale

The Mama & The Papas :: Snowqueen Of Texas


Doug Paisley and Bonnie “Prince” Billy are individually responsible for two of this year’s most sublime collections of folk rock, Strong Feelings and Singer’s Grave A Sea of Tongues. In a gorgeous case of real recognizing real, the songwriters have teamed for “Until I Find You,” a new single available from the solid folks at No Quarter Records. Spare and spacious, the collaboration plays to both men’s strengths, sounding like something you might hear in the haze between dreaming and waking up. Paisley and the Prince wrap their voices together over a bed of acoustic and electric guitars, and Paisley intones, “I’m not an easy man to be with,” while Billy answers in his verse, “I’m not an easy man to kill.” The two find an accord in the swooning chorus, harmonizing in solemn longing. Not to be missed is visual artist Heather Goodchild’s video for the song, featuring animated portraits of the duo blending into other sympathetic faces, a full moon night giving way to a bright morning. Quality stuff in every regard. words / j woodbury

Doug Paisley & Bonnie ‘Prince’ Billy :: Until I Find You

Related: Bonnie ‘Prince’ Billy :: The Aquarium Drunkard Interview