Track Listing 1. Man Like Me, A 2. Landslide Baby 3. You're Only King Once 4. My Side of the City 5. Hovering 6. Me and Jesus Don't Talk Anymore 7. Fooled With the Wrong Guy 8. Your Mother Loves You Son 9. Don't Forget to Breathe 10. Wipe Prints and Run
| Details | | Producer: | Miles Kurosky, Roger Moutenot | | Distributor: | Ryko Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes Beulah: Patrick Abernethy, Eli Crews, Miles Kurosky, Pat Noel, Daniel Sullivan, Bill Swan. Additional personnel: Chele Frizell, Beth Lisick, Jan Richman (vocals); Dave Gleason, John Finkbeiner (guitar); Scotty Hay (pedal steel); Lila Sklar, Sarah Jo Zaharako (violin); Jessica Ivry (cello); Colin Stetson (tenor & baritone saxophone). Recorded at Tiny Telephone, San Francisco, California; The Bank, Nashville, Tennessee. Even in the context of the jangly, jubilant Elephant 6, Beulah plied a particularly lush, orchestral kitchen-sink brand of lo-fi indie pop. YOKO was recorded in 2003 as a majority of the band's six members were going through divorce or separation, and a sense of sorrow pervades the album. The gathering tension (which would ultimately dissolve the band shortly after the album's release) led to the San Francisco band's most restrained--even reflective--record. There's still the occasional flourish, the carnival-esque swirl of the insanely infectious single "Landslide Baby," the bizarre blend of chugging guitars and clashing cymbals that lend a subterranean majesty to "My Side of the City." However, much of the record is stunningly unadorned; it's still wispily hooky, but gloriously understated, as in the melancholy "Hovering" and the piano-bar loneliness of "You're Only King Once." While the record is easily Beulah's bleakest, it's also its most starkly real LP, its most fully realized one, its best reviewed one, and arguably its best record.
Editorial Reviews 3 stars out of 5 - ...[The band pares] down some of the horn-happy melodies that have defined their style, but their songs are still bright and elegant... Rolling Stone (10/02/2003)
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