LEE GREENFELD ON 'ONE'
I met Lee at about the time when I started working on the album in 2011. He was bartending at my local Pub in Brooklyn, which is what he does, when he isn’t DJing, booking bands for DEAD FLOWERS PRODUCTIONS, supporting the Hammers or trying to #saveNY from it’s endless decline into a soullessness. He's a true born Brooklyn lad, not someone who flocked here and grew a beard. While drawing pints in my anonymous local, Lee was always playing the most extensive collection of 60’s psychedelia, Soul and Ska. Didn’t take long to become fast friends and it turned out that we had friends and aquaintences in common from the golden NYHC years. We would talk about legendary gigs and I would give him an update on my slow moving record. I wouldn’t be surprised if he thought i was just making it all up. Half a decade later....he had a listen and..
"A wonderfully soaring, dreamy sonic-tapestry which marries late-'60s Abbey Road sounds (the studio, not the album) with post-Syd Pink Floyd and late '80s shoe-gaze, though minus the bombast and bluster of either one. Subtlety and complexity (sans pomposity) is the key, and as such this is one of those albums that merits the dedication of headphones and a through and through listen. Spacemen 3 made "music to take drugs to," The Beautiful Fear is surely music to float to."
SPENCER COBRIN ON 'NEVER YESTERDAY'
KIPPER oN 'DRY CLEANED'
DENNIS & LOIS ON 'A RETROSPECTIVE'
They met at CBGB in the mid 70’s at a RAMONES gig. The Happy Mondays named a song after them on "Thrills Pills and Bellaches". Elbow made a video about them for "New York Morning". You know them. You have to know them. If you have been to any worthwhile gigs in the U.K. or U.S. in the last 40 years… then you have stood right next to them. That’s if you are down the front, on the right hand side. They are the best music barometer I have had the privilege to call close friends and I will be eternally grateful for their support for our band ‘release’ in NYC in the late 90’s. They never missed a show and came to EVERY SINGLE rehearsal! Stories of the years they spent with the RAMONES still send shivers up my spine... I could write a book about them and perhaps I should once part two of this record is in the bag. DenLo, a NYC institution.
- At least I found out I suck as a writer! WE REALLY like that song.....A LOT! But everything I start to write sounds clichéd, words I've read about songs all my life... nothing original... nothing that 'sparks' anything. It's beautiful soulful mature (in a good way) music and deserves to be reviewed by someone who can be worthy of this song... DenLo
JASON FRIEDMAN ON 'MY INSATIABLE WON'
RAGEH OMAAR ON 'ADUUS AD SOLEM'
RICHIE BIRKENHEAD ON 'THE PILLOW FIGHT'
PHIL VEACOCK ON 'AMBIEN AND THE ROCKABYE ZOMBIE PUPPET SHOW'
I believe Phil Veacock is one of the very few people I know who has actually made a real career from being a musician. I pick my brains and everyone else has some sort of supplementary thing going on. Hats off to that. Phil of course was the tenor sax man for the legendary punk funk 80’s band THE LARKS before settling down with Jools Holland (founder of the band SQUEEZE) as tenor saxophonist and musical director for JOOLS HOLLAND AND HIS RHYTHM & BLUES ORCHESTRA. Phil has worked with all the true rock royalty… on ‘Later’, Phil played the ‘Lady Madonna’ sax solo with Sir Paul McCartney… enough said… okay.
- The track uses the prescription drug ‘Ambien’ as it’s starting point to invoke a nightmarish ‘Danse Macabre’. Introduced by a limping thump reminiscent of a Romero zombie dragging a broken limb, a recurring chord progression gradually emerges from a filmic post-apocalyptic soundscape, driven by a heavy Clash-style skank into an anthemic horror-show frenzy. The un-resolving chords roll round and round, and, like the protagonists of the song, seem doomed to roam the Earth forever. Finally though, the ‘zombie puppet-heads’ limp off into the distance in a chemical-induced haze. Love it!
AURELIO VALLE ON '1999'
I asked old pal Aurelio to review the first track on the album, as Aurelio and his band CALLA are an integral part of my music memories of the end of the last century. Aurelio was always a face in the crowd when we played or at the various clubs such as Pedro Mena's legendary Sunday night 'Shout at Bar 13'. As our band ‘release’ wound down, CALLA were kicking off. They added such an extraordinary cinematic vision to the then tired music scene. Although I was very proud to see Aurelio gracing my TV screen on MTV a few years later, the band never got the dues I feel they so greatly deserved. CALLA were truly unique act. The first album is an absolute treasure. Aurelio has just released an excellent new album called “Acme Power Station” and I hopeful there are many more great records to come from this old friend.
- "1999" is a great introduction track, it pulls you in with the menace reminiscent of a quiet storm. Slowly rolling through flashbacks of bands like The Stone Roses and early Verve, but at the same time sounding fresh. It leaves you anxious to hear what comes next. If this track is any hint of what the rest of the record has to offer, I'm in."
BILL DOLAN ON 'THE ADDICTACLIQUE'