Wednesday, 31 May 2017

The Olivia Tremor Control ‎– Music From The Unrealized Film Script Dusk At Cubist Castle (1996 Flydaddy Records) Flac & mp3

Not the Beatles, but an incredible facsimile: on their sprawling 27-song debut opus, Music From the Unrealized Film Script, Dusk at Cubist Castle, the Olivia Tremor Control manage to summon not only the sound of the White Album-era Fab Four, but also the unfettered creativity. The soundtrack to an unmade film about a pair of women named Olivia and Jacqueline and a massive earthquake dubbed the California Demise, the album incorporates a slew of influences and textures (including Beach Boys-flavored pop, psychedelia, Krautrock, noise, and folk-rock) and synthesizes them into a distinct homebrew of shimmering harmonies, guitar drones, backward tape loops, and inventive effects. As an added bonus, the first few thousand copies came with a bonus CD of ambient "dream sequences" -- titled Explanation II -- which, when played simultaneously with the first disc, realizes true quadraphonic sound. Amazing.(allmusic.com)




As much a concept as a band, the Olivia Tremor Control was one of the most visible and innovative members of the Elephant 6 collective, a coterie of like-minded, lo-fi indie groups -- including the Apples in Stereo, Neutral Milk Hotel, and Secret Square -- who shared musicians, ideas, and sensibilities. The Olivia Tremor Control was led by singers/songwriters/multi-instrumentalists Will Cullen Hart and Bill Doss, natives of the small, isolated town of Ruston, Louisiana, where they struck up friendships with fellow outsiders Robert Schneider (who went on to front the Apples) and Jeff Mangum (the auteur behind Neutral Milk Hotel).
Throughout high school, the aspiring musicians -- all influenced by the likes of the Beatles, the Beach Boys, the Zombies, Pink Floyd, and Sonic Youth -- exchanged home recordings and played in each other's bands. Hart and Doss later attended Louisiana Tech University together, where they tenured as college radio DJs and furthered their musical educations and ambitions. In 1990, Hart, Doss, and Mangum moved to Athens, Georgia, to form the group Cranberry Life Cycle; when Mangum exited, they enlisted John Fernandes and became Synthetic Flying Machine. After Doss' temporary defection to Chocolate USA, Synthetic Flying Machine mutated into the Olivia Tremor Control at much the same time both Schneider and Mangum relocated to Denver, Colorado, to start their own respective projects.

In 1995, the OTC (later fleshed out by "technical advisor" Eric Harris) debuted with the EP California Demise, the first chapter in an ongoing series of high-concept recordings built around the surreal plot of an imaginary film conceived by Hart and Doss. The follow-up 7", "The Giant Day," led directly into the group's 1996 debut double-LP, Music from the Unrealized Film Script "Dusk at Cubist Castle," a sprawling collection of Beatlesque psychedelia, popcraft, and tape loops culled from some 200 unrecorded songs. (The first few thousand copies of the album also included a bonus disc of ambient "dream sequences.") Keyboardist Pete Erchick officially joined prior to 1999's Black Foliage: Animation Music by the Olivia Tremor Control, another epic work that consolidated the group's underground popularity and widened the Elephant 6 cult.
However, breakup rumors swirled around the group during 2000, and it was confirmed that the OTC had gone on at least a temporary hiatus toward the end of the year. In the meantime, the group's earliest recordings -- including California Demise and "The Giant Day" -- were reissued on CD as Singles and Beyond. Bill Doss remained active, releasing an EP titled Future History of a Sunrise Fix with his new project, the Sunshine Fix. His fans were shocked and saddened by the news of his death on July 31, 2012; Bill Doss was 44 years old.(allmusic.com)


Six stars out of five possible stars...

Enjoy
         SB1     Flac p1   &  Flac p2   &  Flac p3   -  mp3@320   -  Art FrontBack

Jangle Pop from the UK: The Primitives - Lovely (RCA 1988)


British indie pop band the Primitives were formed in Coventry, England in mid-1985 by singer Kieron, guitarist Paul Court, bassist Steve Dullaghan, and drummer Pete Tweedie; after a handful of gigs Kieron was replaced by vocalist Tracy Tracy, a peroxide-blonde bombshell whose presence inspired a more melodic approach, which earned the group inevitable comparisons to Blondie. The Primitives' debut single, "Thru the Flowers," appeared on their own Lazy label in 1986 and was quickly followed by radio sessions for Janice Long, Andy Kershaw, and John Peel. Their second effort, "Really Stupid," preceded the band's first European tour, with "Stop Killing Me" appearing in early 1987. Tweedie was dismissed from the group (allegedly for mistreating Tracy's cats) prior to the Primitives' signing to major label RCA, and with new drummer Tig Williams the group recorded its 1988 debut LP, Lovely, scoring a major U.K. pop hit with the masterful "Crash."


After completing an American tour, Dullaghan exited the lineup, with bassist Paul Sampson stepping in for 1989's Pure; the album failed to re-create the success and excitement of its predecessor, however, and when 1991's Ian Broudie-produced Galore met a similar fate, the Primitives disbanded.

Tragedy brought the band back together in 2009 when bassist Steve Dullaghan passed away. Tracy, Court, and Williams re-formed the band (with Raph Moore on bass) to play a couple of shows in October of that year. Things went so well that they decided to make a true comeback, launching a 2010 tour of England and even a show in New York City. They returned to the studio with original producer Paul Sampson and soon released a four-song EP of newly written songs (Never Kill a Secret) in 2011 and an album of covers of obscure female-fronted songs from the '60s (Echoes and Rhymes) in 2012.
Both were released by Spanish label Elefant and showed that the band still had plenty of charm left, even after two decades. Not content to call it quits, the trio of Tracy, Court, and Williams began work on a new album with Sampson on bass guitar and in the producer's chair. Featuring all original material that harked back to their classic sound, their fourth LP, Spin-O-Rama, was released by Elefant in October of 2014; two songs from the album ("Purifying Tone" and "Lose the Reason") were remixed by the Argentinian group Modular in 2015. The four-song single New Thrills was released, again by Elefant, in 2017.


Nice british jangly pop music with female vocals. Good danceable pop songs with mega chartbreaker in Europe, 'Crash' in 1988.
Enjoy
         SB1   Flac p1   &   Flac p2       -  mp3@320

Psychedelic Pop from the sixties! Various Artists - With Love A Pot Of Flowers 1965-67 (2010 Big Beat Records) Flac & mp3



An eclectic time capsule -- its grooves enshrining four Bay Area bands of decidedly different stripes -- this compilation runs the gamut from mind-altering psychedelia to jangly folk to Anglophilic rock. Similarly, a wide range of talent is represented (from stellar to abysmal). Overall, however, With Love: A Pot of Flowers is a worthwhile addition to any '60s collection. The album's three highlights -- "I Think I'm Down," "Streetcar," and "Walking Down the Road" -- are among the best releases of 1966 (having previously appeared as singles for their respective bands).


With its Jagger-esque vocal, humorous lyric (the plaint of a long-limbed equestrian), and red-line fuzztone lead, "I Think I'm Down" is simply killer. "Streetcar" recalls the Who's "A Legal Matter" with electric piano effects; while "Walking Down the Road" is turbocharged Kingston Trio with the sounds of a psilocybic Keystone Kops paddy wagon in the bridge. Of the three remaining tracks by the Harbinger Complex, "When You Know You're in Love" easily outsparkles the others with its snappy syncopation. "Time to Kill" is wistful, anti-establishment wordplay on a theme of Vietnam.


Given lead singer Jim Hockstaff's habit of leaving girlfriends in the family way, "My Dear and Kind Sir" (a suitor's plea to a father for his daughter's hand) smacks of tongue-in-cheek irony. Its folksy musical stylings hark back to gold rush-era San Francisco. Meanwhile, two of Wildflower's offerings ("Wind Dream" and "Coffee Cup") suffer beneath the dead weight of bombastic lyricism.


The former is a dreary ballad; the latter meanders aimlessly through claves and bongos. This pair, with Euphoria's "No Me Tomorrow," are the album's low watermarks. "No Me Tomorrow" is reminiscent of the Third Bardo's "I'm Five Years Ahead of My Time," and wallows indulgently in self-pity (and advocates what? an OD?). Its best moment is its raga-rock fade, suggesting the singer's voyage across the River Styx.
To be fair, however, it must be said that Euphoria's other cut, "Hungry Women," is fair-to-middling psychedelia. With its start-stop raga complexities, it clearly anticipates Bubble Puppy's "Hot Smoke and Sassafras." The Wildflower track "Baby Dear," a curious leadoff for the album, is a sort of happy protest song that features an endless slow drum roll. On "Jump In," Wildflower finally get it together, rise above their lyrical handicap, generate some clever lines, and present an appealing tune. In any floral arrangement, some blooms wilt or become stale, but on the whole, this Pot of Flowers has aged well.(allmusic.com)


This is a great compilation with  a bunch of wonderful popsike songs. I love this kind of stuff.

Enjoy and Peace Folks
                                     SB1     Flac p1   &   Flac p2    -  mp3@320

Garage Pop From '66: Mouse And The Traps - The Fraternity Years 1997 (Big Beat Records) Flac & mp3


Fraternity Years is the first Mouse & the Traps compilation of a truly official nature, taken right from the master tapes. The 25 tracks do miss a few of their least essential cuts, like the awful country novelty "Would You Believe," their mediocre final single for Bell, and the "Psychotic Reaction" single they recorded under the pseudonym of Positively 13 O'Clock.


But everything else is here, with the neat bonuses of a 1967 single credited to another pseudonym (Chris St. John) and seven interesting, previously unreleased sides, including the moving folk-rock-protest number "Nobody Cares" and a you-gotta-hear-it-to-believe-it cover of "You Are My Sunshine" (set to the arrangement of James Brown's "I Got You"!).

The lengthy liner notes present the best history of the group ever written, capping an excellent reissue of a fine band who were probably too chameleon-like to find their niche in the national market.(allmusic.com)


This is a fine Big Beat collection who makes a lot of fun. Fine garage pop from the sixties.

Enjoy
         SB1     Flac p1   &  Flac p2     -  mp3@320