THE POLYPHONIC SPREE
''LIVE FROM AUSTIN TX''
SEPTEMBER 18 2007
51:00
1/Bizarre Prayer/1:36
2/Section 11: Long Day Continues/We Sound Amazed
Tim DeLaughter/6:07
3/Section 2: It's the Sun
Tim DeLaughter/10:19
4/Section 12: Hold Me Now
Tim DeLaughter/4:28
5/Section 6 & 7: Hanging Around the Day, Pts. 1 & 2
Tim DeLaughter/3:46
6/Section 14: Two Thousand Places
Tim DeLaughter/6:30
7/Section 16: One Man Show
Tim DeLaughter/5:46
8/Section 18: Everything Starts at the Seam
Tim DeLaughter/1:45
9/Section 19: When the Fool Becomes a King
Tim DeLaughter/10:43
Joe Butcher /Keyboards, Pedal Steel
Tim DeLaughter /Guitar, Vocals
Julie Doyle /Choir/Chorus
Audrey Easley /Flute, Piccolo
Ryan Fitzgerald /Guitar
Toby Halbrook /Theremin
Evan Hisey /Organ
Evan Jacobs /Piano
Jessica Jordan /Choir/Chorus
Logan Keese /Trumpet
Jennie Kelley /Choir/Chorus
Michael Musick /Choir/Chorus
Rick Nelson /Violin
Jennifer Penn /Vocals
Mark Pirro /Bass
Ricky Rasura Jr. /Classical Harp
James Reimer /Trombone
Kelly Repka /Choir/Chorus
Louis Schwadron /French Horn
Brian Teasley /Percussion
Michael A. Turner /Choir/Chorus
Bryan Wakeland /Trap Kit
REVIEW
by Thom Jurek
Listening to the Polyphonic Spree's studio recordings over the years has been a revelatory and sometimes frustrating experience. The reason is quite simple: excess. Not that excess in and of itself is a bad thing. In many cases it's the excess of joy and celebratory mass euphoria that Tim DeLaughter and crew put into their recordings that can be overwhelming at times and push the listener into spaces she or he might not otherwise even consider -- but to be taken there all the time is at times a bit much. Every band should have "problems" like these. That said, they are never irritating, not even slightly ridiculous. As a band they have put it out there on every record, holding nothing back. This is even true of the Fragile Army, a recording that offers new directions in this band and which combines Phil Spector-ish orgiastic excess, spiritual temerity, and the willful self-consciousness that allows emotion full reign in a blend of music that underscores emotion even while being outrageously sophisticated in structure, using the choir, woodwinds, and of course guitars, basses, drums, and keyboard. Theirs is the most aggressively tender music in pop. Forget the indie rock thing; this band has nothing to do with that whole ghetto.
This performance of the Polyphonic Spree at Austin City Limits is a kind of test. Recorded in 2004, PS performs much of the Together We're Heavy album with a few oldies but goodies tossed in, but it all flows. The title track that closes that album isn't here; they perform "Section 2: It's the Sun," and the band kicks the show off with harpist Ricky Rasura's "Bizarre Prayer."
What comes across over this 51-minute performance is that the excess that comes out of the recording studio to the listener is all here, but because of the "smoothing" process that happens during the mixing, that excess is absent here. Many of the Live from Austin, TX discs sound flat and lifeless, the energetic quality of a performance aired on television is utterly absent on digitally imprinted plastic. In this case? It crackles, bristles, wails and soars. It feels so organic and intrinsically real that it offers an accurate picture of this outrageously large band (24 pieces here) in front of an audience. There are a few ragged edges in "Section 2: It's the Sun," where the choir sort of overwhelms itself, but the horns, harp, and dynamics of this piece -- even with the intonation slightly off -- has so much heart it can not only be forgiven but celebrated for how well such a thing comes off. It's the biggest sounding song they've ever done, and it feels like it should be a finale, but it happens in track three!
There are also moments of great intimacy here, as in "Section 16: One Man Show," with the harp and flutes hovering around DeLaughter as he delivers one of his most heartfelt lyrics. When you get to the finale, "Section 19: When the Fool Becomes a King," the great promise of David Bowie's Hunky Dory, through the outrageous decadent excesses of his Diamond Dogs periods is brought into the clear light of a new morning in a looking glass: Live is rooted in the same glammed-out psychedelia and prog rock, yet it's anything but decadent. "Love the life you choose/keep yourself feeling brand new/Love your strife with life/Everyone wants to know why/And Love your strife for you/Keep yourself feeling brand new/And love your strife with God/Yes everyone wants to know love...." It sounds like the ending to Godspell, but it's so much tougher, it rocks so much harder, and is so utterly poignant: these guys mean it. The end if album brings, as predicted, exhaustion on the listener's part, yes, but some kind of nervous exhilaration, too. How can anyone say anything like this during wartime? Never did it need to be said more. And PS -- that wild neo-hippie crew from Texas -- do just that. "Hail to the sky..." indeed. The only thing that could improve this performance is seeing it. And you can see it as there is a brilliantly shot DVD/CD edition available, as well. Thank your gods for Polyphonic Spree. This is precisely the kind of excess needed in uncertain times: excessive optimism that is not naïve.
BIOGRAPHY
by Linda Seida
When the Polyphonic Spree first appeared in 2000, the Dallas symphonic pop group was as much a band as a "happening," in the 1960s sense of the word. The Spree's two dozen members took the stage in flowing robes of snowy white, an appropriate backdrop for their happy and uplifting blend of pop, orchestral rock, and minimal touches of gospel. The costumes changed over the years, but the Polyphonic Spree's message remained consistent, drawing comparisons to the Flaming Lips and the Beach Boys with a smidgen of lively Godspell-like attitude thrown into the mix.
the Polyphonic Spree were founded by vocalist Tim DeLaughter, who fronted the band Tripping Daisy until 1999, when a drug overdose killed his bandmate Wes Berggren. Tripping Daisy subsequently folded, and DeLaughter pulled together surviving members of the group for the Polyphonic Spree, a massive collective that admitted more than 20 new members into its fold. The group put together a demo entitled The Beginning Stages of the Polyphonic Spree and distributed it to fans during a holiday performance; a Dallas-based indie label, Good Records, later issued the release. Boasting a ten-member choir, two keyboardists, percussion, bass guitar, flute, trumpets, trombone, violin, French horn, theremin, pedal steel, and an electronic effects wizard, the band had little trouble carving out its own unique niche.
DeLaughter emerged as the group's musical director and lead vocalist, and the Polyphonic Spree hit the road with more than a dozen full-sized vans. Despite the cumbersome nature of touring with an immense lineup, the band drew attention with its cathartic performances, including a gig during 2003's Reading Festival. The single "Follow the Day" was featured in Volkswagen commercials as well as the Eternal Sunshine of the Spotless Mind soundtrack, which helped the Polyphonic Spree earn even more exposure. The group's proper debut, Together We're Heavy, was co-released by Good Records and Hollywood Records during the summer of 2004, garnering The Spree additional accolades despite a vicious review by Entertainment Weekly.
Released in 2007, the Wait EP found the band moving in a darker, slightly more atmospheric direction, and the band returned that summer with The Fragile Army, a reprise of the vibrant Technicolor sound of its earlier work. The band now sported black military outfits with red crosses stitched onto the front, signaling a newfound darkness that flecked The Fragile Army with brief flashes of melancholy and textured rock. As before, the Polyphonic Spree took their tent revival-esque show on the road, and the Live from Austin TX CD/DVD captured their strength as a live act later that year. In 2012, the psych-pop extravaganza decided to take on the challenge of holiday music, releasing Holidaydream: Sounds of the Holidays, Vol. 1, which found the band putting its own exuberant spin on some classic Christmas standards.
''LIVE FROM AUSTIN TX''
SEPTEMBER 18 2007
51:00
1/Bizarre Prayer/1:36
2/Section 11: Long Day Continues/We Sound Amazed
Tim DeLaughter/6:07
3/Section 2: It's the Sun
Tim DeLaughter/10:19
4/Section 12: Hold Me Now
Tim DeLaughter/4:28
5/Section 6 & 7: Hanging Around the Day, Pts. 1 & 2
Tim DeLaughter/3:46
6/Section 14: Two Thousand Places
Tim DeLaughter/6:30
7/Section 16: One Man Show
Tim DeLaughter/5:46
8/Section 18: Everything Starts at the Seam
Tim DeLaughter/1:45
9/Section 19: When the Fool Becomes a King
Tim DeLaughter/10:43
Joe Butcher /Keyboards, Pedal Steel
Tim DeLaughter /Guitar, Vocals
Julie Doyle /Choir/Chorus
Audrey Easley /Flute, Piccolo
Ryan Fitzgerald /Guitar
Toby Halbrook /Theremin
Evan Hisey /Organ
Evan Jacobs /Piano
Jessica Jordan /Choir/Chorus
Logan Keese /Trumpet
Jennie Kelley /Choir/Chorus
Michael Musick /Choir/Chorus
Rick Nelson /Violin
Jennifer Penn /Vocals
Mark Pirro /Bass
Ricky Rasura Jr. /Classical Harp
James Reimer /Trombone
Kelly Repka /Choir/Chorus
Louis Schwadron /French Horn
Brian Teasley /Percussion
Michael A. Turner /Choir/Chorus
Bryan Wakeland /Trap Kit
REVIEW
by Thom Jurek
Listening to the Polyphonic Spree's studio recordings over the years has been a revelatory and sometimes frustrating experience. The reason is quite simple: excess. Not that excess in and of itself is a bad thing. In many cases it's the excess of joy and celebratory mass euphoria that Tim DeLaughter and crew put into their recordings that can be overwhelming at times and push the listener into spaces she or he might not otherwise even consider -- but to be taken there all the time is at times a bit much. Every band should have "problems" like these. That said, they are never irritating, not even slightly ridiculous. As a band they have put it out there on every record, holding nothing back. This is even true of the Fragile Army, a recording that offers new directions in this band and which combines Phil Spector-ish orgiastic excess, spiritual temerity, and the willful self-consciousness that allows emotion full reign in a blend of music that underscores emotion even while being outrageously sophisticated in structure, using the choir, woodwinds, and of course guitars, basses, drums, and keyboard. Theirs is the most aggressively tender music in pop. Forget the indie rock thing; this band has nothing to do with that whole ghetto.
This performance of the Polyphonic Spree at Austin City Limits is a kind of test. Recorded in 2004, PS performs much of the Together We're Heavy album with a few oldies but goodies tossed in, but it all flows. The title track that closes that album isn't here; they perform "Section 2: It's the Sun," and the band kicks the show off with harpist Ricky Rasura's "Bizarre Prayer."
What comes across over this 51-minute performance is that the excess that comes out of the recording studio to the listener is all here, but because of the "smoothing" process that happens during the mixing, that excess is absent here. Many of the Live from Austin, TX discs sound flat and lifeless, the energetic quality of a performance aired on television is utterly absent on digitally imprinted plastic. In this case? It crackles, bristles, wails and soars. It feels so organic and intrinsically real that it offers an accurate picture of this outrageously large band (24 pieces here) in front of an audience. There are a few ragged edges in "Section 2: It's the Sun," where the choir sort of overwhelms itself, but the horns, harp, and dynamics of this piece -- even with the intonation slightly off -- has so much heart it can not only be forgiven but celebrated for how well such a thing comes off. It's the biggest sounding song they've ever done, and it feels like it should be a finale, but it happens in track three!
There are also moments of great intimacy here, as in "Section 16: One Man Show," with the harp and flutes hovering around DeLaughter as he delivers one of his most heartfelt lyrics. When you get to the finale, "Section 19: When the Fool Becomes a King," the great promise of David Bowie's Hunky Dory, through the outrageous decadent excesses of his Diamond Dogs periods is brought into the clear light of a new morning in a looking glass: Live is rooted in the same glammed-out psychedelia and prog rock, yet it's anything but decadent. "Love the life you choose/keep yourself feeling brand new/Love your strife with life/Everyone wants to know why/And Love your strife for you/Keep yourself feeling brand new/And love your strife with God/Yes everyone wants to know love...." It sounds like the ending to Godspell, but it's so much tougher, it rocks so much harder, and is so utterly poignant: these guys mean it. The end if album brings, as predicted, exhaustion on the listener's part, yes, but some kind of nervous exhilaration, too. How can anyone say anything like this during wartime? Never did it need to be said more. And PS -- that wild neo-hippie crew from Texas -- do just that. "Hail to the sky..." indeed. The only thing that could improve this performance is seeing it. And you can see it as there is a brilliantly shot DVD/CD edition available, as well. Thank your gods for Polyphonic Spree. This is precisely the kind of excess needed in uncertain times: excessive optimism that is not naïve.
BIOGRAPHY
by Linda Seida
When the Polyphonic Spree first appeared in 2000, the Dallas symphonic pop group was as much a band as a "happening," in the 1960s sense of the word. The Spree's two dozen members took the stage in flowing robes of snowy white, an appropriate backdrop for their happy and uplifting blend of pop, orchestral rock, and minimal touches of gospel. The costumes changed over the years, but the Polyphonic Spree's message remained consistent, drawing comparisons to the Flaming Lips and the Beach Boys with a smidgen of lively Godspell-like attitude thrown into the mix.
the Polyphonic Spree were founded by vocalist Tim DeLaughter, who fronted the band Tripping Daisy until 1999, when a drug overdose killed his bandmate Wes Berggren. Tripping Daisy subsequently folded, and DeLaughter pulled together surviving members of the group for the Polyphonic Spree, a massive collective that admitted more than 20 new members into its fold. The group put together a demo entitled The Beginning Stages of the Polyphonic Spree and distributed it to fans during a holiday performance; a Dallas-based indie label, Good Records, later issued the release. Boasting a ten-member choir, two keyboardists, percussion, bass guitar, flute, trumpets, trombone, violin, French horn, theremin, pedal steel, and an electronic effects wizard, the band had little trouble carving out its own unique niche.
DeLaughter emerged as the group's musical director and lead vocalist, and the Polyphonic Spree hit the road with more than a dozen full-sized vans. Despite the cumbersome nature of touring with an immense lineup, the band drew attention with its cathartic performances, including a gig during 2003's Reading Festival. The single "Follow the Day" was featured in Volkswagen commercials as well as the Eternal Sunshine of the Spotless Mind soundtrack, which helped the Polyphonic Spree earn even more exposure. The group's proper debut, Together We're Heavy, was co-released by Good Records and Hollywood Records during the summer of 2004, garnering The Spree additional accolades despite a vicious review by Entertainment Weekly.
Released in 2007, the Wait EP found the band moving in a darker, slightly more atmospheric direction, and the band returned that summer with The Fragile Army, a reprise of the vibrant Technicolor sound of its earlier work. The band now sported black military outfits with red crosses stitched onto the front, signaling a newfound darkness that flecked The Fragile Army with brief flashes of melancholy and textured rock. As before, the Polyphonic Spree took their tent revival-esque show on the road, and the Live from Austin TX CD/DVD captured their strength as a live act later that year. In 2012, the psych-pop extravaganza decided to take on the challenge of holiday music, releasing Holidaydream: Sounds of the Holidays, Vol. 1, which found the band putting its own exuberant spin on some classic Christmas standards.
