smoe.org mailing lists
ivan@stellysee.de
| From | "Harris, Will" <wharris1@bcharrispub.com> |
| Subject | Re: Guadalcanal Diary |
| Date | Tue, 22 Apr 2003 13:21:39 -0400 |
[Part 1 text/plain windows-1252 (2.4 kilobytes)]
(View Text in a separate window)
In the immortal words of just about every "Simpsons" character at one point
or another:
YOINK!
-----Original Message-----
From: PoPbAnG [mailto:bangbangpopshow@pluricanal.net]
Sent: Tuesday, April 22, 2003 12:38 PM
To: audities@smoe.org
Subject: Guadalcanal Diary
Finally....
Guadalcanal Diary
Walking In The Shadow Of The Big Man / Jamboree
Audio CD (Coming May 6)
www.oldies.com
This quartet was formed in Marietta, Georgia, USA, in 1981 by
vocalist/guitarist Murray Attaway and guitar player Jeff Walls, initially as
a vehicle to perform renditions of Civil War songs. However, with a line-up
of Robert Crowe (bass) and John Poe (drums), they went on to specialize in
guitar-led songs with impassioned and wilful lyrics, in a manner that
prefigured the 90s rise of Grant Lee Buffalo. Mainly written by Attaway, who
once led a Yes covers band, these songs looked at Americana, personal
disasters and spirituality - notably a fascination with southern Baptist
culture summed up by one critic as "gospels, damnations and hallelujahs".
Named after a soldier's history of the World War II Guadalcanal campaign,
the group made its debut in 1983 with the EP Watusi Rodeo. Two of the songs
also appeared on their first long-player, as did "Watusi Rodeo", which had
given the EP its title but which had not actually featured. Afforded the
production expertise of Don Dixon but little else in the way of financial
indulgence, the album married the group's strong songwriting to emotive
lyrical themes like the loss of innocence ("Trail Of Tears") and the group's
suspicion of religious fervour ("Why Do The Heathen Rage?"). The latter
contrasted with a seemingly heartfelt rendition of "Kumbaya". The producer
for Jamboree was Rodney Mills, with help from Steve Nye. With an improved
budget the musical values were brought to the fore, but the more inspired
lyrics lay on 2 x 4, which saw Dixon return to the producer's chair. The
bold arrangements introduced on the previous album were also present here,
but this time they did not overshadow compositions such as "Let The Big
Wheel Roll", a lovely example of southern country rock. The group's final
album arrived two years later, and saw the emergence of Poe as a strong
songwriting force (Jeff Walls was now more withdrawn in this respect).
Attaway went on to work solo following the band's demise while Poe joined
Love Tractor.
For assistance, please contact
the smoe.org administrators.