Aug 27, 2014

RhoDeo 1434 Aetix

Hello, well today belongs to the return of Kate Bush, 35 years her fans had to wait to see her on stage again, the coming weeks she will be doing her thing at the Hammersmith Apollo Theater in London. Anyway her fans, some had flown in from L.A. and Australia, were more nervous than she was as she gave a great performance and her voice, well it was all there. I'm sure you'll be able to buy an official video come X'mas, if not that would be a mistake.


Today's band is an alternative jangle pop group. They originated in Marietta, Georgia, a suburb of Atlanta, but they were often billed as being "from Athens, Georgia" in the early 1980s. The band formed in 1981 and disbanded in 1989. They reformed in 1997, but never recorded any new material.....N'Joy

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Guadalcanal Diary is an alternative jangle pop group. They originated in Marietta, Georgia, a suburb of Atlanta, but they were often billed as being "from Athens, Georgia" in the early 1980s. The band formed in 1981 and disbanded in 1989. They reformed in 1997, but never recorded any new material. After going on hiatus in 2000, Guadalcanal Diary temporarily reunited for a second time in 2011 for Athfest, where they celebrated their 30th anniversary.

While frequently lumped in with such Southern alternative pop bands as R.E.M. and Let's Active, Guadalcanal Diary was distinctly different from its peers, with a sound that was at once melodic and rhythmically aggressive, and a decidedly literary and spiritual bent to the group's lyrics. And at a time when Athens, Georgia, was being hailed as the new center of the smart-pop universe, Guadalcanal Diary hailed from Marietta, Georgia, an Atlanta suburb where the band formulated its sound with little input or influence from the local rock scene.

Guadalcanal Diary was formed in 1981 by guitarist and singer Murray Attaway and lead guitarist Jeff Walls, who'd first met in high school and joined a punk band called Strictly American. Rhett Crowe, who was sharing a house with Attaway at the time and was learning to play bass guitar, joined the new band's lineup, and shortly before the new group's first show, John Poe, a former bassist who has worked with Walls, was recruited to play drums when their original timekeeper quit at the last minute. Attaway's roommate chose the name Guadalcanal Diary, from a book by Richard Tregaski about the U.S. campaign against Japan during World War II, enamored of the name's surface ambiguities and undertones of patriotism and warfare.

After developing a reputation on the Georgia music scene thanks to frequent gigging in Atlanta and Athens, Guadalcanal Diary cut its first record, a four-song EP called Watusi Rodeo, in 1983 for the Athens-based DB Records label. A year later, DB and the band followed it up with a full-length album, Walking in the Shadow of the Big Man, produced by Don Dixon. Filled with rich but moody songs about faith, doubt, and the legacy of life in the Deep South, and driven by thundering drums and the clarion call of electric guitars, Walking in the Shadow of the Big Man quickly won an enthusiastic reception from critics and college radio programmers, and in 1985 Elektra Records signed Guadalcanal Diary and reissued the album. More touring followed, as did a cameo appearance in a best-forgotten youth comedy called Rockin' Road Trip.

In 1986, the band released its first album financed by Elektra, Jamboree, which was produced by Rodney Mills, best known for his work with the likes of .38 Special and the Atlanta Rhythm Section. While Mills brought a greater polish to Guadalcanal Diary's approach and the band displayed a greater stylistic diversity, it lacked the force and impact of Walking in the Shadow of the Big Man and was not as well received. Guadalcanal Diary returned to the studio with Dixon for 1987's 2x4, which coupled the energy of the first album with Jamboree's sense of musical adventure and spawned a minor alternative rock hit, "Litany (Life Goes On)." However, Guadalcanal Diary's busy touring schedule was beginning to take its toll when the group cut 1989's uneven Flip-Flop, and by the end of the year, after a long stretch on the road, the bandmembers amicably parted ways.

Following Guadalcanal Diary's breakup, Murray Attaway signed to Geffen as a solo artist, and released the well-reviewed In Thrall in 1993. Walls played guitar with Hillbilly Frankenstein and Dash Rip Rock, and produced recordings for Southern Culture on the Skids, the Woggles, and Man or Astro-Man? Poe pursued a low-key solo career, and Crowe retired from music after a short spell with Ottoman Empire to raise her children. In 1995, Attaway began recording a second album and decided to invite Walls, Poe, and Crowe to join him on a few songs, and while the album was never released due to a change of management at Geffen, the four were happy enough with the tunes they recorded to play a few reunion gigs in Atlanta.

In late 1998, the band self-released a live album, At Your Birthday Party, recorded at one of its reunion shows; in 2000, the bandmembers announced they'd gone back on hiatus, but had not ruled out working together again in the future. Continued interest in Guadalcanal Diary has been confirmed by a two-fer compact disc reissue of Walking in the Shadow of the Big Man and Jamboree, released by Collectables in 2003, and limited-edition, remastered, and expanded editions of the group's first three albums, issued by the Rhino Handmade imprint in 2003 and 2004. In 2009, as an answer to increasing online demand for new music and shows, Murray Attaway and Jeff Walls formed the band Bomber City as an outlet to play their large backlog of solo material and favorite Guadalcanal Diary songs. In 2011, Guadalcanal Diary briefly reunited to play Athfest, where they celebrated their 30th anniversary.

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Like R.E.M., the B-52's, and Pylon, this fine band hailed from the unlikely independent-rock hotbed of Athens, GA. The long jangle pop shadow of R.E.M. is extremely strong on this release, with seven of the ten tracks showing either full or partial influence of that group. Fortunately, the songs here are excellent, exhibiting much variety within this style. "Trail of Tears," a haunting antiwar number, sounds the most like their Athens counterparts. "Fire From Heaven" is more up-tempo, intense, and dynamic, while "Sleepers Awake" is an ominous, slowly unfolding song. "Ghost on the Road" is primarily a fast country-punk number that saves its R.E.M. stylings for its yearning chorus. "Gilbert Takes the Wheel" and the title track are jangly instrumentals, the former being a fast rocker with a thudding beat, the latter being a lengthy slow-tempo selection exhibiting noticeable psychedelic traits. Other territory is touched on as well. "Pillow Talk" is a winsomely energetic Everly Brothers-influenced song. The brilliant "Watusi Rodeo" is a jumpy pop number sporting over-the-top surf guitar licks and inspired hilarious-yet-uncomfortable lyrics about "Ugly American" cowboys in Africa. There's also an eccentric cover of the missionary hymn "Kum Ba Yah," complete with appreciative background audience shouting, an energetic drum solo, and extreme contrasts of loud and soft dynamics (sometimes within the same verse line). This odd yet strong album is well worth hearing.



Guadalcanal Diary - Walking In The Shadow Of The Big Man  (flac 337mb)

01 Trail Of Tears 2:28
02 Fire From Heaven 3:55
03 Sleepers Awake 3:13
04 Gilbert Takes The Wheel 2:36
05 Ghost On The Road 2:56
06 Watusi Rodeo 2:40
07 Why DoThe Heathen Rage? 3:02
08 Pillow Talk 2:01
09 Walking In The Shadow Of The Big Man (Part 1) 4:36
10 Kumbayah 3:49
bonus
11 Johnny B. Goode 3:46
12 Michael Rockefeller 4:56
13 Liwa Wechi 2:51
14 John Wayne 3:12
15 Dead Eyes 3:19
16 Just An Excuse 2:53
 
Guadalcanal Diary - Walking In The Shadow Of The Big Man (ogg 126mb)

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After the musical and commercial disappointment of Guadalcanal Diary's second album, the overcooked and overproduced Jamboree, the band took a simultaneous step back and leap forward on their third long-player, 1987's 2x4. 2x4 found the band working once again with producer Don Dixon, who had captured their mingled punch and jangle on their debut, 1984's Walking in the Shadow of the Big Man, and the happy irony was that Dixon was able to give the band the tougher and more detailed sound they failed to get on Jamboree. At the same time, Guadalcanal Diary rose to the occasion with a batch of songs that merited Dixon's more muscular treatment; 2x4 isn't short on pop smarts, but Murray Attaway and Jeff Walls put a lot more weight behind their guitars on this set, and bassist Rhett Crowe and drummer John Poe weren't afraid to keep up with their wall of sound. "Things Fall Apart" and "Litany (Life Goes On)" proved Guadalcanal Diary could have their cake and eat it too, holding on to the obtuse Southern accents of their earlier work while introducing plenty of Big Rock swagger to the mix, as "Little Birds" and "3 a.m." offered reassurance that the band still knew how to turn down their amps when circumstances demanded. If Guadalcanal Diary succumbed to the stereotypical sophomore slump with Jamboree, they managed a far stronger third-inning rebound than the majority of their peers on 2x4, which sounds like the group's strongest and most confident album.



Guadalcanal Diary - 2x4  (flac 261mb)

01 Litany (Life Goes On) 3:41
02 Under The Yoke 4:28
03 Get Over It 3:00
04 Little Birds 3:57
05 Things Fall Apart 2:44
06 Let The Big Wheel Roll 2:40
07 And Your Bird Can Sing 2:07
08 Where Angels Fear To Tread 3:13
09 New Born 4:41
10 Winds Of Change 2:55
11 Say Please 2:10
12 3 AM 4:12
13 Lips Of Steel 3:28

Guadalcanal Diary - 2x4  (ogg 102mb)

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Guadalcanal Diary's final album is simultaneously their most stylistically consistent and their least effective. Most of the songs on this release uneasily mix walloping rock, arena stylings, and ringing R.E.M. touches; most have clearer, somehow less effective lyrics, some of which (most notably in "The Likes of You") are riddled with cliches. The temptation to think that the band is going for chart success in a big way is very strong here. A few off-style excursions can be found, all but one showing strong ties to songs on earlier albums. "Ten Laws" has the slow, ominous feel of "Spirit Train." "...Vista" mixes musical elements of "Country Club Gun" and "T.R.O.U.B.L.E." in an uneasy alliance with nonsense lyrics. And "Fade Out" (probably the album's best track) is a further excursion into paisley-period Beatles that recalls "Lips of Steel." The one surprise here is the power-pop selection "Always Saturday." A number of the songs on this release have sour, angry lyrics excoriating such things as out-of-control drunks ("Whiskey Talk") and women both snooty ("The Likes of You") and vacuous ("Pretty Is as Pretty Does"). In short, the group seems to be stagnating. Fans of this band will likely find this release to be a letdown from earlier efforts.



Guadalcanal Diary - Flip-Flop  (flac 236mb)

01 Look Up ! 2:28
02 Always Saturday 4:09
03 The Likes Of You 3:03
04 Barometer 4:05
05 Happy Home 2:47
06 Whiskey Talk 3:30
07 Pretty Is As Pretty Does 4:00
08 Everything But Good Luck 2:48
09 Ten Laws 3:42
10 Fade Out 4:52
11 …Vista 3:05

Guadalcanal Diary - Flip-Flop  (ogg 89mb)

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1 comment:

bobbysu said...

thank you so much