If you missed our interview with the Bonnie ‘Prince’ last month, you can find that, here. Below is the new video for “New Black Rich (Tusks)” 7″, culled from Oldham’s 2014 LP, Singer’s Grave a Sea of Tongues, directed by Claudia Crobatia.
I know we’re all busy having our minds blown by the new Basement Tapes Complete box set that landed last week … but take a couple minutes to dig this very Basement-y recording of Bob and the Band (who may still have been the Hawks at this point) paying tribute to Woody Guthrie in early 1968. It’s the only live appearance Dylan made between mid-1966 and 1969, but he’s in fine and fighting form as he leads the boys through a rollicking rockabilly rave-up of Guthrie’s classic. Part of an all-too-brief three-song set, “I Ain’t Got No Home” sounds like Dylan and the Band sauntered out of Big Pink, already slightly toasted, and sped down to NYC to set Carnegie Hall ablaze. words / t wilcox
We’re back with another collection via our transatlantic collaborator, Sweden-based DJ/record collector Peer Schouten. Enter: There Will Be Mud — a collection of rockabilly tracks, and their forebears–24 gems dug up from swampy southern soils; a strange choreography of whiskey, religion and other spirit-infused sufferin ‘n smilin.
Closing out Aquarium Drunkard’s September mix are the ghostly vocals and gentle acoustic strumming of a piece of music who’s rhythmic perfection has the ability to both take you by surprise or calm you into a state of bliss. Kim Jung Mi’s 1973 album, Now, is no accidental wonder, though, because the combination of her sultry, echoing vocals and the American-influenced psychedelic and rock musings of producer, and ordained “Korean Godfather of Rock” lend a loose, flowing sound to songs like “Your Dream” and a soulful, funky vibe to “Unknowingly” and it’s “It’s Raining.” What makes this record so wonderful and awe-inspiring is it’s defiance of any per-determined definition you might have slapped on Korean folk music. words / p dufrene
“But it’s all right now, I’ve learned my lesson well. “You see, you can’t please everyone, so you’ve got to please yourself”
In 1971 Rick Nelson was invited to perform at Madison Square Garden with a handful of other ’50s rock luminaries — only to be subsequently booed off the stage by an audience not expecting Nelson’s, then, newfound love of country-rock. The next year Nelson and The Stone Canyon Band released the Garden Party LP with the title track recounting the night’s events. In addition to lyrics referring to John Lennon’s presence in the audience (“Yoko brought her Walrus”), Nelson sings “Mister Hughes hid in Dylan’s shoes, wearin’ his disguise”, which is reportedly a reference to Bob Dylan’s duds that night. Fuck ‘em if they can’t take a joke.
In 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.