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Wer an Allerheiligen nach Einbruch der Dunkelheit über den Friedhof schleicht, gerät in eine merkwürdige, eine nachdenkliche und feierliche Stimmung. Ist das wirklich die einzige Welt, in der ich leben kann? Is existence punishment? Warum habe ich das Bedürfnis, selbstverfasste Gedichte an die Zillo zu schicken? Doch Mut, es gibt ja noch die Musik. Ich versuche, wieder zu Hause angekommen, mich daran zu erinnern, wie das war, zum ersten Mal eine neue große Platte zu hören. Die Erwartungen, ohne eine genaue Ahnung, was ich da eigentlich erhoffte. Irgendwie atemberaubend sollte es sein. Indiskutabel kraftvoll, wütend und tröstend zugleich. Es sollte mich „wowen“ lassen und es der Realität irgendwie heimzahlen, der Sau. Vergessen sollte ich die Wirklichkeit, die ja doch die wahre Geisterwelt bildet. Der Exorzismus soll noch in dieser Nacht beginnen, also nehme ich die CD von The All Golden und lösche das Licht und warte auf die Gefühle. Davon hatte ich ja früher immer welche, und dass sie sich jetzt nicht einstellen, liegt an der Musik. Halfway Down und das erste Stück finde ich schön, aber es ist keine Herzensangelegenheit. Es ist diese Definition von schön, in der man es sich mit der Zeit gemütlich gemacht hat, die einen dazu bringt, Alben von Lou Barlow oder so jemandem zu kaufen, obwohl sowas ja schnell Anlass zur Sorge sein kann. Ikea ist überall. Die gefälligen Lieder für Gitarre und Schlagzeug der College-Band aus Ohio sind nicht der wahre Jakob, nicht der Stoff, aus dem die Träume sind, sondern eher Parasiten der richtig dicken Fische in einer Strömung, die mir zugegebenermaßen nah am Herzen vorbeifließt. Ich denke an den Film „Long Good Friday“ mit Bob Hoskins, als ich den Fernseher anschalte. In den Achtzigern ein Kultfilm, verstehe ich heute nicht mehr, warum der so gut ankam. Auf MTV kommen Linkin Park und ihr hirnrissiges 250.000-Dollar-Video. Existence is Punishment.
- Sonja Müller (30.11.2002)
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Buzz, Buzz, Buzz
This Kent, Ohio group's latest release is something of an odd wonder. Throughout A Long Good Friday, the All Golden manage to incorporate such influences as My Bloody Valentine, Mercury Rev, and even mid-'60s garage rock. This makes for a pretty eclectic mix, and quite a listen as these guys actually pull off all the aforementioned sounds while still sounding genuine and more than capable.
Formed in 1999 by lead vocalist and guitarist Chris Sheehan, the All Golden embarked on their maiden voyage. Also in tow were Scott Bennett, also on vocals and guitar, drummer Craig Lisik, and bassist Dave Neeson. The band released their first single "Velikovsky" on the Bubblegum Smile imprint in 2000. Shortly afterward, Neeson and Lisik left, being replaced by Joel McAdams and Charlie Druesedow respectively.
"Your Bad Wires" opens A Long Good Friday. It opens with clean, double-tracked vocals and electric guitar before quickly giving way to a high pitched drone wailing away in the background and murky drums that sound like they were recorded down in someone's cellar. Reminiscent of any of the excellent soundscapes found on My Bloody Valentine's Loveless, "Your Bad Wires" is only the tip of the iceberg. Nothing else on the album sounds quite like it.
The second tune, "Bright" enters the Mercury Rev territory. And what's so odd about the whole thing is that it sounds like Rev past and present. That means you'll hear the influence from Yerself Is Steem to Deserter's Songs lurking about in the five minutes it takes to hear the song. An insistent synth riff keeps plugging away, driving the song into an almost maddening climax, but the damn thing works, and that's all that matters.
Then there's the single "Velikovsky" that has an oddly thin production to it that sounds tightly compressed. But again, for these guys, the sound works as the drums and cymbals push through the production and some creepy sounding pretty synth notes perk up here and there. The whole thing has a very demo-like quality to it, but it's top-notch nevertheless. Likewise, the slow drone of "Northern Lights" lunges along on its piano rhythms while all the sound comes mostly out of the left channel. An odd bit of mixing, to say the least, as it echoes stereo's early days when most of the guitars and so forth would be put on the left channel and the drums and bass on the right.
Best song title goes to "Tom Collins (Genius Isn't a Mixed Drink)". On top of that, the whole song has a spacey quality, thanks to its ethereal sounding keyboards and guitars that seem to spin off in all different directions. It sounds like a lost psychedelic masterpiece transplanted into '90s style college rock. It then jumps to "The Water Is Rising", an acoustic guitar track featuring Moog-like synth squiggles that bands like Air are so fond of. But here, the sounds are surreal and work greatly, rather than just acting as some kind of novelty act for cheesy effect.
The organ-drenched "Sleepwalking" is where the All Golden tip their hats to all those great garage rockers of the '60s. Thunderous drumming, wah-wah guitars, Byrds-like harmonies, and an overall sense of acid trippiness imbues the song perfectly and easily earmarks it as a highlight of the album. The organs are used again to full effect on the creepy "Smoking's the Last Sin" which sounds like a cross between 10cc's artier experiments and Ween's masterful melodic experiments on White Pepper.
"Land of Lincoln" sports Leslie effects from hell. Everything from the guitars and vocals to the piano is soaked in the effect. Near the end some weird Mellotron sounds creep in. It's as if "Strawberry Fields Forever" took a really bad trip and wound up twisted on the other side somewhere else. But funny enough, the album ends on the straight-forward "Halfway Down", with acoustic guitars and great vocal harmonies before being capped off with the short instrumental "Innovation in Miniature".
For a time in music when more psychedelic experiments in rock have taken a back seat, the All Golden and A Long Good Friday is certainly a welcome sound. This band takes the best of psych and done elements and creates something entirely new with them, which is a nice accomplishment in itself. It will be interesting to see which direction the band takes next. They certainly seem like they don't have any shortage of good ideas. Even if they stick with this pattern, A Long Good Friday will stand as a really fine album in a class by itself.
- Jason Thompson, PopMatters Music Interviews Coordinator (12/04/02)
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The All Golden is composed of Chris Sheehan, Scott Bennett and whatever erstwhile-unknown drummer from the Kent, OH area they can drag into the recording studio on any given day. Not just any recording studio—one of these guys actually runs his own studio. I mention this because The All Golden's debut LP, A Long Good Friday, sounds like it was recorded with lots of love and what sounds like unlimited studio time. Layers and layers of guitars, vocals, keyboard tracks and drums of varying quality make up these 13 tracks that 120 Minutes' Dave Kendall would probably call "post-modern."
Yes, in fact, this sounds a lot like something that would've come out of Liverpool circa 1988. Sheehan and Bennett score high points for making the All Golden sound like a real band that has ten years of colorful haircuts under its collective belt, rather than a studio project from the Midwest. If I forgot to mention how elemental the use of keyboards is to The All Golden, perhaps I should get on that. On some songs, such as "Sleepwalking," you feel like you are getting killed by Farfisas. Beautiful Farfisas, Moogs, pianos and Casios create and penetrate the wash and backdrop of almost every selection. Notably, none of the keyboards are programmed, leaving them sounding like a rock band rather than a new wave group.
The All Golden quickly deliver some swift hits. "Tom Collins" is pretty hot, and I think a clear tribute to The Beach Boys. Verse and chorus go hand in hand, in the classic '60s tradition, and lovely high back-up arrangements showcase the 'golden' throats at their best. A reference to the Beach Boys is even included in this track; to the "pocket symphony," no less (which is what Brian Wilson called "Good Vibrations.) Another no-miss is the delay-soaked nostalgia of "Land of Lincoln." Also excellent are the pensive and pretty "Northern Lights," the fine ballad "More or Less" and the expert Brit production on "Smoking's the Last Sin."
All vocals are not so groovy on this set, however. Perhaps it is Scott Bennett's slightly "Vedder-ian" intonations (yes, Eddie) in "The Water of Rising" that are a bit of a turn-off. Personally, I grow cold when I think someone is trying to sing with a little too much "soul." Likewise, no one person (except for Sting maybe) should be held responsible for the watered-down campfire world music of "Innovation in Texture." A rule of thumb for owners of multi-track machines out there: just because you can put five different harmonies on a vocal doesn't mean you always should.
The high point for me is the first track, "Your Bad Wires," a nervy piece of post-punk goodness that conjures up the early '80s transition between Joy Division and New Order. All the various guitar lines and textures come to a head on the chorus, which is right where the solo kicks in. This crazy melody might be the most out-of-tune and inept piece of solo-tude I've heard work so effectively in a long while.
Despite the layers of production and time that might have gone into making these tunes, it still comes down to whether the core material is strong or not. With about six of the thirteen tracks on this CD hitting me in the sweet spot, I'd have to go ahead and say this record is about half-golden, or all-silver. And that's a pretty damn fine debut in my book.
- Jonathan Donaldson (12/2/2002)
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Die vier Mitglieder der Band aus Kent, Ohio, haben zwar schon in einer ganzen Reihe von Bands (The Witch Hazel Sound, Harriet The Spy, New Terror Class, Dreadful Yawns) gespielt, aber niemand außer ein paar Nerds mit der Nase für echte Geheimtipps hat sie leider hierzulande so richtig wahrgenommen. Das könnte sich jetzt ändern, denn The All Golden liefern auf ihrem Debütalbum 60s-gefärbten, streckenweise psychedelisch angehauchten Power-Pop allererster Kajüte ab. Und auch wenn man beim Hören des Öfteren das Gefühl hat, die ein oder andere Melodie schon einmal gehört zu haben, ist man sie nie so sicher, wo sich die vier Amerikaner denn zitattechnisch bedient haben könnten. Neben dem offensichtlichsten Vergleich - den ebenfalls aus Ohio stammenden Brüdern im Geiste, Guided By Voices - sind The All Golden mit so ziemlich jeder Band von Apples In Stereo bis hin zu Joy Division verglichen worden, was letztendlich auch für eine gewisse Eigenständigkeit sprechen dürfte. Jedenfalls hat der Bubblegum-Rock des Quartetts auch genug dunklere Seiten, um die Band nicht in die Falle namens "Oberflächlichkeit" tappen zu lassen, allerdings sind sie auch positiv genug, um das Publikum mit ihrer ansteckenden Fröhlichkeit und Power mitzureißen. Das Beste aus beiden Welten sozusagen!
- Carsten Wohlfeld (12/2002)
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The All Golden ist ein weiteres vorzügliches Indiepop-Gespann aus dem überschaubaren Kent in Ohio, das auch Bands wie The Party Of Helicopters, The Witch Hazel Sound, New Terror Class, Channel oder die Kramies beheimatet. Sehr unauffällig und bescheiden, aber dafür umso effektiver haben sie 13 durchdachte Indiepop Kracher auf ihrem neuen Album aus dem Ärmel gezaubert, die nicht unbedingt das Rad neu erfinden, aber trotzdem zu keiner Zeit langweilig oder belanglos werden. Dafür stecken viel zu viele gute Ideen in den Songs, die durch den sehr organischen und natürlichen Sound in ein angemessenes akustisches Gewand gekleidet wurden. Der Gesang ist dabei entgegen meiner Erwartungen recht harmonisch und melodisch gehalten, so dass man schon von einer recht eingängigen Platte sprechen kann, obwohl sie glücklicherweise weit davon entfernt ist, glatt und poliert zu sein. The All Golden beweisen auch, dass sie sowohl ordentlich rocken als auch ganz ruhig und melancholisch zu Werke gehen können, was der Platte sehr gut zu Gesicht steht und sie über die gesamte Länge spannend und interessant hält. Schöne Platte einer Band, deren Name man sich schon mal merken sollte.
Rating: 8 out of 10 stars
- Matthias (11/25/2002)
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"Last year at Oldfield’s on High I found myself surprised at the songwriting talent of a random Cleveland band. Oddly enough, the lead singer looked like a taller Freddie Prinze Jr. and the other singer stood at about seven feet tall, singing with a voice as pretty as a girl. Then they seemingly disappeared.
A couple weeks ago I happened to find this CD at Used Kids. Apparently, in the interim The All Golden has been playing gigs steadily in locales from Cleveland (the band’s hometown) to New York and gathering accolades for their vintage pop with an emo edge. It’s a style akin to British bands like Pulp and American counterparts like Guided by Voices all meshed into one, a bit like what would happen if the Velvet Underground had grown up in the ’80s and toured with the Smiths.
The core of the band consists of Chris Sheehan (vocals/guitar/piano) and Scott Bennett (vocals/guitar). Bennett recorded A Long Good Friday at his own Waterloo studio in Kent, which recently hosted Guided by Voices for its back-to-basics return to indie pop, Universal Truths & Cycles. The All Golden likewise focuses on pop, combining the feel of the Beatles with Mercury Rev-style dreamy swirls. It all comes off as a bit more spooky than most vintage synth poppers, and that’s a good thing."
- Ryan Horns (August 2002)
POWER POP WITH A PSYCH-PUNK EDGE
"The All Golden's debut LP takes its cue from a more Sixties psychedelic sound, which is no great surprise as leader Chris Sheehan was previously in Ohio's neo-psych-poppers the Witch Hazel Sound, whose Kevin Coral has also produced this album. Big sound, big vibes, big fun."
Rating: 3 1/2 stars
- Paul Johnson (September, 2002)
"I give Robert Pollard and Guided By Voices a lot of credit for spurring a generation of otherwise impoverished musicians into releasing their own under-financed works of art into the public consciousness. Had these various poets without honor waited around for the coffers to reflect a decent-sized recording budget, we might never have heard the likes of The All Golden. Raggedy on the edges, but reflecting the typical measure of pop influences
inherent in the Buckeye State (do I have to name all of the usual suspects?), Scott Bennett and Chris Sheehan specialize in setting up walls of sound based on tinny guitars and sometimes cheesy keyboards with which to hang their various melodic hooks. Yeah, there's Beatles in there ('Northern Lights' is a dreamy 'Strawberry Fields Forever' somnambulistic ramble) with bits of every undiscovered sunshine pop artist Sundazed hasn't done a box set on ('Sleepwalking') filtered through the grooves. Fans of GBV's Bee
Thousand might appreciate parts of this as the lads have the nerve to actually complete some of their songs."
— Spring 2002
"Ohio's The All Golden draw upon a rich lineage of funereal rock. There are shades of Joy Division's 'The Eternal' in Chris Sheehan's solemn guitar lines. Tinges of This Mortal Coil colour Scott Bennett's twisted, aching vocals. In passages, the duo depart the indie-rock ghetto entirely, trudging down a torch-lit cul-de-sac eerily reminiscent of Dead Can Dance. In less accomplished hands, such reverence would make for stoic revivalism. Sheehan and Bennett never surrender to cliche', however. Marble-cold and as evocative as a frost-wreathed January dusk, 'A Long Good Friday' is a chillingly accomplished debut."
Rating: **** = A Cut Above the Rest
- Edward Power (May 30, 2002)
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"Along with the Witch Hazel Sound, The All Golden is part of a loose conglomerate of Kent bands that rivals the Elephant Six clique (Olivia Tremor Control, Neutral Milk Hotel and Apples in Stereo) for sheer ’60s-revival wackiness. On this debut, the trio follows their creative impulses no matter where they lead. Songs such as "Bright," "The Water is Rising" and "Land of Lincoln" bustle with the sounds of analogue synths and chiming guitars. They’re so beautiful, it almost doesn’t matter that they meander a little too aimlessly. When The All Golden ventures into power-pop territory with "Tom Collins (Genius Isn’t a Mixed Drink"), "More or Less" and "Your Bad Wires," a song that borrows freely from British Invasion in much the same way as Guided by Voices, the execution’s nearly perfect. The cooing vocals and tightly constructed harmonies coalesce nicely, suggesting the band might not be as out there as its lysergic song titles and psychedelic instrumentation imply." Rating: A MINUS
— Jeff Niesel (2/20/02)
"The All Golden compose a gauzy beauty on their debut album A Long Good Friday. It's less conventional than typical Brit-pop while commanding a fierce indie-rock intellect with massive instrumentation, for the band is American. The post-punk swirls of "Your Bad Wires" are brusque and tantalizing while elevating the album's layered electronic wizardry on songs such as "Message to Bernie" and "Tom Collins (Genius Isn't a Mixed Drink." Wispy percussion and hushing organs sweep over "Smoking's the Last Sin" for something shadowy and romantic whereas "Velikovsky" is brisk with sleigh bells and spacey organs. The sharpened edges of "Land of Lincoln" showcase how intricate Chris Sheehan and Scott Bennett truly are as songwriters and sound sculptors. A Long Good Friday is fixed in pop music, however it's a misty scene reminiscent of My Bloody Valentine, The Boo Radleys, and The Flaming Lips."
— MacKenzie Wilson (3/2002)
The All Golden – A Long Good Friday (Microtone): "Atomospheric music that has some elements of the shoegazer scene and the more recent dreamy pop efforts of groups like Flaming Lips and Sparklehorse, without following either muse specifically. Opening tracks "Your Bad Wires" and "Bright" cascade guitars and yearning keyboards on big songs that envelope and captivate. The latter has an awesome big guitar melody -- it's making me think of classic Who or Kinks, at their most inspiring, or more recent bands like The Lassie Foundation who can lift you off your feet with a great song/texture combo. After this great welcome, the band can almost do no wrong. There are some more rockers similar to the aforementioned tunes, some lighter atmospheric pieces (like "Northern Lights", with its stately presence and low key harmonies, the world weary acoustic "The Water is Rising", "Sleepwalking", which fans of early R.E.M. will appreciate, though R.E.M. never utilized keyboards like this), and the insistent mid-tempo "Smoking's the Last Sin", which is as great as its title. Scott Bennett and Chris Sheehan split the songwriting duties and they clearly share a sensibility that gives this band a distinct sound. This is the type of record that college radio stations should be going apeshit over."
- Mike Bennett Capsule Reviews (4/2002)
- Delusions of Adequacy -
"Welcome to the magical mystery tour that is The All Golden and their debut full-length A Long Good Friday. Chock full of vintage sounds and timeless song-craft, this Kent, Ohio conglomerate crank up lava lamps and amps to create a semi-psychedelic palate of indie-rock. The songwriting duo of Scott Bennett and Chris Sheehan seem similarly guided by regional voices that beg for the one perfect pop song that may not have been written some 30 years ago, but should have been. By way of ancient organs and electric pianos, The All Golden compliment classic, guitar-driven rock throughout A Long Good Friday: an ignis fatuus release fed by the buried corpses of The Beatles, Pink Floyd, and even The Who.
With its climbing Moog riff and melodically vocalized chorus, the song "Bright" displays a Robert Pollard-like observance of fundamental rock song structures that grab and hold the listener. Some of this may have to do with other Ohio indie-pop guy Kevin Coral taking time from The Witch Hazel Sound to help record and produce A Long Good Friday. Some of it may also have to do with the fact that The All Golden have exclusive access to their own Waterloo Sound Recording Studio where Guided By Voices spent some time recently recording follow-up material to their Isolation Drills. In fact, you'd have to tell me twice that it's not old Bob himself singing on behalf of The All Golden in the song "More or Less," although his name is listed nowhere in the liner notes. A lengthy song of loose acoustic guitar, keyboard, and layered, open-space vocals, "More or Less" sounds easily enough like one of the better, touching songs from the fading captain's suitcase, but here it is The All Golden.
It's possible that The All Golden could have all types of Elephant 6 references tossed their way because of a noticeable phantasmal pop element. With an upbeat tempo, organs, jingling tambourine, guitars, and an ever present sense of something nostalgic, songs like "Smoking's the Last Sin" or "Tom Collins (Genius Isn't a Mixed Drink)" have all the offerings that fans sought from indie-rock's more recent musical commune. But now, I'm starting to understand that there is indeed some sort of definite, rock time warp capturing many in Ohio."
- Thomas (3/25/02)
The All Golden - A Long Good Friday (CD, Microtone, Pop)
"This is the debut album by Kent, Ohio's The All Golden. Some folks may know the band for a single they released previously titled "Velikovksy" (which is included on this album). A Long Good Friday was produced by Kevin Coral (of The Witch Hazel Sound). The music is heady and ever-so-slightly psychedelic pop that is somewhat reminiscent of the debut album by The Apples In Stereo (although not nearly as obviously poppy) and slightly similar to The Witch Hazel Sound. The songs on this album are not obvious...but instead seep slowly into the subconscious with repeated listenings. The band is fueled by the songwriting skills of Chris Sheehan and Scott Bennett. Sheehan and Bennett borrow ideas from the past while pleasantly blending in their own unique vision of the present. Destined to be an underground favorite, this album is an extremely pleasant and consistent listen...with a great deal more meat than your average twenty-first century release. Our initial favorites are "Your Bad Wires," "Velikovsky," "Sleepwalking," and "Innovation In Miniature" (great song title there...). Really good stuff...!"
(Rating: 5 = Excellent)
(5/2002)
"A record that chalks the sum of its parts on a blackboard and then proceeds to supersede them with unaffected ease. Sometime ago, Chris Sheehan used to play with Ohio's Witch Hazel, a band proud to confess their unfashionable - for Americans - appreciation of miasmic adventurers in sound like My Bloody Valentine and The Boo Radleys. Now he returns to the source with The All Golden, who in using guitars as percussive as much as melodic elements, pay all due respect to the Velvet Underground before blurring the details in a viscous mellotron fug. 'Velikovsky' is a wind through the hair joyride through space: galaxies collide, pupils dilate, and for three glorious minutes, earthbound realities disappear. Of course, it's been done before, but you can't really imagine all those millions of Chills fans getting too upset at this happy remembrance of days gone by."
(2/26/00)
"Britpop from the Midwest? Although it sounds impossible, The All Golden pull off some of the better moments of Belle and Sebastian on both Velikovsky and This Guitar's Gone To Heaven, fake accents and all. Comparisons aside, this Ohio duo combines a heavy use of keyboards (Moog, organs and electric pianos) with an upbeat pop flavor of a less depressed Cure. The results are an incredibly fashion of mellow, bouncy indie pop. Something that one could only expect from a label called Bubblegum Smile." Rating: ****1/2 out of *****
— Mike DaRonco
"First off we have The All Golden (Bubblegum Smile Records), that I believe houses one of The Witch Hazel Sound's members and it's a doozie! One of the year's best 7'' flat out. Velikovsky is a frickin' anthem, while the flipside is softer and prettier."
(Fall 2000)
"Here we've got a single, and an EP with a song from the single. The CD starts out with a swirly pop flow, vocals drifting over guitar, and driving drums before sliding into the space rock shoegaze groove of 'Velikovsky'. It's sort of like a very lighthearted Swervedriver inspiration flowing through the thickness, and some Britpop flavoring mixing in with the mood. The third song is beautifully simple, with strong vocals over acoustic guitar, and a background noise that hums through - the dynamics keep you caught between earth and space. Look, I'm floating! Then we're back into psychedelic pop, smiling, and spinning like a happy record. Speaking of records, the flip side to the single is a nice steady mid-tempo pop song, giving a little vocal tip of the hat to Morrissey."
- The Big Takeover, Issue 49
"The Ohio duo of Chris Sheehan and Scott Bennett sets the studio aglow with the chugging, Velvet Underground-inspired 'Velikovsky'. Production guru Kevin Coral (Witch Hazel Sound) pulls out all the stops, underpinning the pairs' keening vocals with a battery of trashcan drums, a chiming Chris Montez-like vibraphone drone and a few strategically placed sleighbells and trumpet volleys. The more sedate 'This Guitar's Gone To Heaven', on the other hand, could be a lost track from the glory years of Scotland's Postcard label (Jozef K, Aztec Camera) or the early days of Australia's Died Pretty."
- Magnet Magazine (Volume 8, No. 45)
"The All Golden Velikovsky/This Guitar's Gone To Heaven. Led by Chris Sheehan, who used to play with a band called Witch Hazel Sound, The All Golden issue forth some nice noise pop on both songs here. Velikovsky is the real keeper, a modern lover's style romp with some serene vocal harmonies that lay semi-buried beneath the fuzz, the whole thing augmented with keyboards and jinglebells. I find the other song, 'This Guitar's Gone To Heaven', a little less appealing, maybe because Sheehan repeats the title phrase way too many times. But perhaps the la la's in the fade out shall entice you, siren-like, to The All Golden."
(3/6/00)
"Velikovsky seems to be a strange yet compelling pop song ode to Immanuel Velikovsky and his theories of catastrophic cosmology. I did mention strange, right? The compelling aspect is the melody, retro-pop feel, coupled with a Britpop insouciance. The B-side to this vinyl 45 is a bit more traditional in feel and in subject matter. 'This Guitar's Gone To Heaven' is straight ahead seventies' influenced pop with a vocal nod or two to Morrissey. I'd like to hear more."
(April 2000)