| | Okay Low Road CD Okay Discography of CDs
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Half of a pair of conceptually related discs released simultaneously, Okay's Low Road is, as the title suggests, considerably darker than the comparatively sunny (but still often unsettling) High Road. During the period in which Low Road was written and recorded, Okay's Marty Anderson (the band's only permanent member, although as on High Road, there are guest musicians here) was diagnosed with and nearly died from complications of the inflammatory bowel syndrome Crohn's Disease. On top of this, his girlfriend dumped him for one of his bandmates and the Iraq war started. So there's a pervasive gloom to Low Road, as song titles like "Bloody" and "Holy War" attest, and the fatalism of songs like "We" ("We're Number One/How low will we go?") and "Devil" ("We're killing you/Just like we're killing me") is only barely ameliorated by Anderson's facility for catchy indie pop hooks. Even more so than on High Road, Anderson manipulates his vocal tracks on Low Road with effects and processing that turn his voice (already a rather odd instrument with a pinched, nasal quality) into a slightly creepy, needling presence, but on songs like "Replace," which mutates the spiritual "Amazing Grace" into a gloomy dirge, it makes quite a bit more lyrical and thematic sense. Unlike the comparatively strained and self-consciously quirky High Road, Low Road sounds more personal and intimate, and it's arguably the better album of the two. ~ Stewart Mason
Personnel: Jay Pellicci (drums).
Recording information: 02/2003-02/2004.
Magnet (p.110) - "Songs aren't unleashed as much as they're unwound, with contoured guitar and eerie-sounding synth jingles adding up to something indescribably warm and even playful." Low Road Review
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Purchase Low Road CD To buy, Click on price to add to cart | Animal Collective Sung Tongs CD (2004)
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From the goofy, fluttering phrasing of "Who Could Win a Rabbit" to the lilting harmonies in "College" (which could easily be an outtake from the Beach Boys' PET SOUNDS), Animal Collective oozes with a starry-eyed, back-to-childhood sensibility. But like anyone's youth, SUNG TONGS is full of monsters and ...
| | Okay High Road CD (2005)
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Half of a pair of thematically linked discs that were released separately on the same day, High Road features 11 quirky synthesizer-based indie pop songs by singer/songwriter Marty Anderson. Anderson used to be the leader of the Bay Area post-rock act Dilute, but a life-threatening illness, Crohn's Disease, curtailed his ability to tour (according to a 2005 profile in SF Weekly, Anderson is on an IV drip for up to 16 hours a day) and led to the more insular sound of Okay. Although not entirely a one-man band project (various guests, including Dilute's rhythm section, help out here and there), High Road is built on Anderson's synthesizers, drum machines, and effects boxes, which he applies to everything, often including his vocals. (Even unornamented, Anderson's voice has an odd nasal quality, like a cross between ...
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A HARD DAY'S NIGHT presents a fictionalized day in the life of the Beatles as they give a performance on a live television show. Filmed just a month after their appearance on the Ed Sullivan Show in February 1964, this film--the Beatles' first--introduces us to the unique personalities of each member of the band. The film opens with the Fab Four boarding a train mobbed with adoring young fans (mostly women) as they attempt to travel to the television studio in London. The antics of the band during rehearsals and makeup ...
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Glitter and Doom Live, a double-disc set, marks Tom Waits' third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. The second was Big Time, released during his tenure at Island in 1986. The musical performances on disc one of Glitter and Doom Live were culled from Waits' historic sold-out tour of the U.S. and Europe. He compiled and sequenced the set himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label. There are stellar performances here, such as "Get Behind the Mule" from The Mule Variations, "Trampled Rose" from Real Gone, and a haunting version of Leadbelly's "Fannin Street" from Orphans: Brawlers, Bawlers & Bastards, to mention just three of the 17 cuts here. But he goes back to his Island albums too. For instance, there are completely re-visioned readings of "Lucky Day" and "I'll Shoot the Moon" from 1993's Black Rider, and a killer -- though equally revamped -- version of "Singapore" from ...
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