author: Veronica
I like the punk aggression under Greg's folkie chords, singing as a more incisive Lou Reed...
and his lyrics are a collection of lapidaries; verses that strike in mind for ages...
"being pushed around by anyone who is fruitful enough to be casual"
"That's more than enough water in the kettle, I could add some more but it'll only take longer to boil"
"songs about sailors and ships they come they go they come in the lips, out where the deep end has no bottom"
Among my favourite on this album:
*"Pros and Cons" with his amazing lyrics, "Magic Bone" that starts like a dirty three chord song and changes into something else...almost hypnotic.
*Saxophone in "Long Long Time Ago" fits just great like the epic cornet in "Two Women and a Flood."
...then the pulp & queer atmosphere of "February 10th" and the genuine lo-fi of "Nothing Works," "you don't hurt like I hurt and that's what hurts"
I think i could go on and on with all of the tracks.. :)
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...comes alive to shuddering effect...
author: Jeff Clark ----Stomp and Stammer Magazine
Full Moon Flashlight, Connors latest CD (on Stan Satin’s Scared imprint) pours across the listener like a rumbling, slow-rolling summer storm, it’s power unnoticed until it’s right on top of you. Satin, drummer David Watkins, bassist/guitarist John Stun, viola master Marty Matteson, bassist Mark Perkins, vocalist Jennifer Tucker and Hubcap City’s Bill Taft on cornet are among the Atlanta musicians helping Connors’ songs come alive to shuddering effect, especially on the six-and-a-half minute centerpiece, “Magic Bone,” which generates a ghostly glimpse of a not-too-distant past when incomparable figures such as Debbey Richardson and Benjamin Smoke helped shape Atlanta’s underground culture.
Not only is Full Moon Flashlight , without question, Greg Connors’ pinnacle to date, it’s destined to be a classic of the Atlanta scene – hopefully not a lost one.
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