Label: Terminus Records
TRACK LISTING (AUDIO HELP)
1. Too Deep To Sleep - Confessions of a Beatles casualty
2. Broken Windows - The Main Street Theme
3. Theyíre speaking Spanish in the kitchen (and love is in the air)
4. She told him youíre a good man
5. Carolina (You ainít superstar material)
6. 9 to 5 on a payphone (Go on home we got business to do)
7.Tired Eyes (vs. The Pimp in the Mirror)
8. Of course it fell apart, what did you expect
9. Sheís got her kids on the weekend
10. I wonder if you understand (itís only that my hands were tired)
11. Too deep for sleep part II
12. Main Street
13. You ainít superstar material "No babyís Mama Drama (DJ Gnosis remix)"
Kevn Kinney - vocals
Bob Elsey - guitar
Jim Cobb - bass, keyboards
Rickey Fargo - drums, percussion
Rick Hinkle - guitar
Mike Barry - trumpet
Alfreda Gerald - background vocals
Luis Stefanell - percussion - track # 3
Walter Brewer - drums - track # 9
Randy Chapman - bass - track #9
Conceived by revered Atlanta songwriter, Clay Harper, Main Street, the album, is ambitious concept, indeed. Weaving the storied difficulties of broken people in a broken time into a complex musical soundscape, Harper literally covers your eyes and shows you a movie. And with all thatís happening around you caustic confrontations, whooping horns, shuffling drums, and hardhearted monologues of apathetic surrender you canít help but see it clearly. And hear it even more.
"Itís kind of a double edged sword," says Harper. "These days they make a soundtrack that has absolutely nothing to do with the movie. I grew up listening to West Side Story, where the songs actually played and integral part in the storytelling. "
Harperís choice of the storytelling medium follows naturally from his recent forays into childrenís music. He recorded two albums enlisting support Cindy Wilson, Mo Tucker, Ian Dury, and Susan Cowsill. Prior to that, Harper made a name for himself frontingAtlanta scenesters, The Coolies ("Everybody wanted to sign us," he says, "but we never showed up anywhere."), and performing with Ottoman Empire and rap act, Def Mute.
The combination of Harperís cynical insight and Kinneyís burnt soul infuses Main Street with a near-classic transcendence. Like Lou Reed before him, Harper how to sense the sounds of the street, spanning the spectrum into the unlikely territories of Jazz, Latin, Rock, and Rhythm and Blues. And while the message presses hard into the psyche, the music seems to smooth it over in some surrendered celebration. It comes off like Kerouacís "On The Road," but with just one road and nobodyís leaving it.