Alex Maas/Black Angels – I’d Rather Be Lonely

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For those not so familiar with the band, The Black Angels are an Austin, Texas based psychedelic rock band formed in 2004 that have become a leading force within the underground psychedelic music scene by organizing the annual psychedelic music festival entitled Austin Psych Fest.
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Roky Erickson & The Black Angels – Night of the Vampire (Complete concert)

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Legendary psych rocker and founding member of 13th Floor Elevators, Roky Erickson returned to the stage in 2008 to perform songs
from the 13th Floor Elevators catalog that had not been performed in decades. Backed by the neo-psychedelic rock heavyweights, The
Black Angels, Night of the Vampire captures a special performance Halloween night 2008 from the El Ray Theater in Los Angeles.

1. Intro/Bo Diddley’s A Headhunter
2. Collaboration Seq. w/BA’s Science Killer
3. Two Headed Dog
4. Halloween costumes w/ BA’s Mission District
5. Night Of The Vampire
6. You’re Gonna Miss Me
7. Splash 1
8. Creature With The Atom Brain
9. Roky Discussion w/ Black Angel’s Never Ever
10. Roller Coaster
11. Reverberation over End Credits

Phil Lee – I Like Everything

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I Like Everything

A simple little tune that harkens back to my early early days in the biz. That would be the mid-to-late ’60s. It’s a straight ahead ditty with me going on about a person I like. A lot. It’s a good ending song (we don’t want to go, but we GOTTA go.) I keep thinking Tom Jones would absolutely kill this song. If you see him, please tell him so and give him my number.

Bo Diddley – Hey Bo Diddley

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He only had a few hits in the 1950s and early ’60s, but as Bo Diddley sang, “You Can’t Judge a Book by Its Cover.” You can’t judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat — bomp, ba-bomp-bomp, bomp-bomp — is one of rock & roll’s bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves’ 1965 hit “I Want Candy.” Diddley’s hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument’s power and range. But even more important, Bo’s bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling.
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The Walkmen – Many Rivers to Cross

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“Pussy Cats” Starring the Walkmen, often referred to as just Pussy Cats, is a cover album by The Walkmen, released in 2006 (see 2006 in music). The album is a song-for-song cover of the 1974 Harry Nilsson album Pussy Cats which was produced by John Lennon. The decision to cover the Pussy Cats album, which is a band favourite, started off as a joke that evolved into a full-fledged album released only 5 months after their previous record, A Hundred Miles Off.The album also served as a last project for the band’s studio, Marcata Recording. Marcata, which band members Matt Barrick, Paul Maroon and Walter Martin built in 1999, was located in a building owned by Columbia University, which took the property back in 2006. The making of the album, which took “about ten days,” was filmed by Norman “Rockwell” Coady and the footage was made into the documentary In Loving Recognition, included on the album’s accompanying DVD.

The Baptist Generals – Fly Candy Harvest

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On The Baptist Generals’ sophomore album, the word “heart” repeats eight*** times. The Denton, TX band, known for its haunting, claustrophobic take on drunken folk, needed ten full years to bare its hearts—one of which is in the album title, Jackleg Devotional to the Heart, a name that songwriter Chris Flemmons conjured shortly after he recorded, and then trashed, the album’s first attempt in 2005.

Flemmons goes so far as to call this his “love album,” and it’s an apt description—though love through The Baptist Generals’ eyes is plenty complicated. Jackleg‘s hearts don’t resemble valentines. No smooth curls into a final point. The band’s vibraphones, guitarrons and ambient feedback combine like a mess of ventricles, aortas and veins—not to mention, from the sound of it, all of the blood spilled while Jackleg lurched for years toward an eventual finish line.
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