| | Barcelona Simon Basic CD Barcelona Discography of CDs
Barcelona's 1999 debut full-length on March Records, Simon Basic, marked the beginning of a new wave of suburban, Casio-based indie pop. Led by singer/guitarist Jason Korzen, the Washington D.C. quartet turned heads with the single "Why Do You Have So Much Fun Without Me?", which was also featured on the March Records compilation Summer Sampler 1999. The early part of the album is chock-full of whimsical and catchy songs like "Sunshine Delay" and "Indian Names". Songs in the middle of the disc are straight-forward indie pop, such as "Space Guy Blues" and "I Know What You Think of Me". The Casio keyboard regains a focal point on songs such as "Unreal" and "Summer Songs". The band quickly gained notice for references to computer terms in their songs, especially on "C-64" and "The Downside of Computer Camp". The band's steady, computerized beats and quick turns-of-phrase garnered the band much deserved attention outside of their hometown. Produced by hollAnd's Trevor Kampmann, Simon Basic was recorded over a period of nine months during 1998 and early 1999. Artwork for the album was designed by fellow Washington D.C. resident Mark Robinson (of Teenbeat Records, Unrest, Air Miami, Flin Flon). ~ Stephen Cramer Barcelona Simon Basic Songs | 1. | Why Do You Have So Much Fun Without Me- |
| 2. | Sunshine Delay |
| 3. | Indian Names |
| 4. | C-64 |
| 5. | Fabled Age |
| 6. | Space Guy Blues |
| 7. | I Know What You Think of Me |
| 8. | 1-2 |
| 9. | Unreal |
| 10. | Summer Songs |
| 11. | Downside of Computer Camp, The |
|
Simon Basic Review
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Purchase Simon Basic CD To buy, Click on price to add to cart | Go-Betweens Send Me A Lullaby CDs (1981)
Simon Basic
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Stunning remastered 2 CD set featuring 12 previously unreleased tracks including a duet with Nick Cave and an enhanced section featuring the video for 'Your Turn My Turn'. 2002.
The Go-Betweens: Grant McLennan (vocals, guitar, bass); Robert Forster (vocals, guitar); Lindy Morrison (drums, background vocals).
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popular L.A. studio session bassist (L.A. Express, Freeway) fronts his own West Coast fusion band with Rob Whitlock-kbds, Dave Hooper-dms, Brian Pri Jorgenson-sax+, plus special guests Tom Scott, Joe Sample & Russell Ferrante
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| | Blades Of Grass Are Not For Smoking CD (1967) (Import) United Kingdom
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Digitally remastered collection from the New York 'Sunshine Pop' band's only LP from 1967 along with all of their non-LP singles in their original mono mixes, making this the first ever complete collection by these masters of Soft Pop. From Rochester, NY, The Blades Of Grass were one of the prime East Coast exponents (along with The Free Design) of that usually West Coast genre of Sunshine Pop and were one of the later signings to legendary New York Doo-Wop label Jubilee Records, Their complex, baroque harmonies and optimistic atmosphere having a much overlooked but firm second front in the city that never sleeps, indeed the group's first hit single "Happy" went head to head in a chart battle with LA's Sunshine Company. Their version of the title track of the Peter Sellers film "I Love You Alice B. Toklas" also rivaled Harpers Bizarre's version shortly afterwards, though The Blades' version somewhat had the edge stylistically, with it's vocal phasing and psychy effect-laden intro and outro. Rev-Ola. 2009.
Personnel: Nick Robbins, Joe Foster (synthesizer).
Liner Note Author: Steve Stanley.
New England's Blades of Grass were every bit as good as any of the other so-called sunshine pop groups that surfaced in the psychedelic summer of 1967, and if it weren't for a run of just plain blind bad luck, might have had a chance for bigger and better things. As it was, they managed just one album and a handful of singles before calling it quits. The group's biggest success was ...
| | Autechre Amber CD (1994) Reissue
Simon Basic
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In small but noticeable ways on this, their sophomore release, Autechre begin to break from the clean, if at times obvious, artistic techno from their debut record, and reach instead toward something far more distinct. Sean Booth and Rob Brown weren't quite there yet, but their self-production is even more accomplished than before, and their instincts to steer away from overly polite electronic dance music come ever more to the fore at various points throughout Amber. "Foil" begins the album with a distinctly spooky feel to it, with droning keyboards playing out over a series of spare percussion patterns; the heavy echo and crumbling, lo-fi bass feel of the track reduces its straightforward danceability, creating an ominous introduction to the album. "Silverside" at once strips things down to a more minimal approach. A string synth section plays out over first gently thudding then more pounding beats. Then a more off-kilter section with distorted vocal samples and sounds provides part of the melodic accompaniment and rhythm. "Glitch" has a nice roiling rumble to it; it isn't as fragmented as later releases, but veers a little more closely to the edge in comparison to earlier songs. "Piezo" is also worth noting, with uplifting synths balancing out a very quirky, almost intrusive series of rhythms, while "Yulquen" eschews beats entirely for a slightly disturbing though still beautiful ...
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Simon Basic
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