Camper Van Beethoven Telephone Free Landslide Victory Lp
$
55
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Description
it is a record...made in the Usa with a picture cover and all artwork A1 Border Ska A2 The Day That Lassie Went To The Moon A3 Wasted A4 Yanqui Go Home A5 Oh No! A6 9 Of Disks A7 Payed Vacation: Greece A8 Where The Hell Is Bill? A9 Vladivostock B1 Skinhead Stomp B2 Tina B3 Take The Skinheads Bowling B4 Mao Reminisces About His Days In Southern China B5 I Don't See You B6 Balalaika Gap B7 Opi Rides Again - Club Med Sucks B8 Ambiguity Song At the time of their 1985 debut, Camper Van Beethoven's merging of punk, folk, ska and world musics was truly a revelation. Self-described as "surrealist absurdist folk," the band formed in Santa Cruz, CA after singer-songwriter David Lowery of Redlands, CA, with his dry humor and valley-boy voice (sometimes confused for a faux English accent), and boyhood friends Chris Molla and Chris Pedersen disbanded Box of Laffs. Victor Krummenacher was added on bass and soon they were joined by Greg Lisher (guitar) and Jonathan Segel (violins, keyboards, mandolin). It was Segel's violin that would prove to be the band's hallmark at a time when alternative rock had yet to be invented, and indie-rock was still shy of roots music or traditional instruments. The 1985 re-release of their debut Telephone Free Landslide Victory made the Top Ten in the 1986 Village Voice annual Pazz and Jop Poll, as did their second album, II & III, and Camper Van Beethoven, both released in 1986. On II & III, they went for a purer indie-rock sound with touches of country, as evidenced in their "Sad Lovers Waltz" and their cover of Sonic Youth's "I Love Her All The Time." The band deftly switched modes from punk to ska to rock on alternate takes, but by this time Molla had left the fold. The third album, confusingly titled Camper Van Beethoven, continued the thread, but the outstanding tracks, like "Joe Stalin's Cadillac," were all in the more straight-ahead indie-rock vein. However, the band would consistently blow people's minds by tossing around things like a reverent version of Pink Floyd's "Interstellar Overdrive." For their Virgin Records debut, subsequent with the label's U.S. re-launch in 1988, the band took a more serious tack for Our Beloved Revolutionary Sweetheart, and the band who had once been confined to low budgets and small studio facilities stretched out perhaps a little too aggressively
returns are not accepted, any damage during transport can be replaced by same item
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