12" EP, The Beatin's, A Little Give and Take, Limited #6 of 200, Priv Pr, Ins NM
$
20
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Description
Released Nov 13 2009 by Civilian Arts Project in conjunction with the exhibition: "a little give and take" new sculpture by Carole Wagner Greenwood. Signed (signature illegible) and numbered #6 of 200. Inserts include a photo which was made into the front cover and several little items of art (I presume) inside gatefold. Record stored in plain white inner sleeve and is near mint - looks unplayed with no scratches.
From the internet on Stewart Lupton and the 7-track LP which followed this 4-track 12" EP:
"Ironic west-coast LSD-induced americana? I never imagined fitting those words together, but when you listen to The Beatin’s’ debut LP, A Little Give And Take, that newly-invented subgenre seems oddly appropriate. On the first go, many listeners might not take to the album’s sixties vibe, in part because it requires setting aside expectations and attempting an openness to its, well, total strangeness. The Beatin’s represents the collaborative effort of Stewart Lupton and Carole Greenwood. Some might recognize Lupton as the singer of the popular 90’s New York indie rock band Jonathan Fire*Eater. Once public interest in that group began to wane, Lupton started writing and recording music on his own, even releasing a 2007 album under the name The Child Ballads. Greenwood’s career path, on the other hand, has wound through an almost absurd number of successful positions. Off to a decidedly different start from most musicians, she earned her bachelor’s degree in Political Science and went on to work for a variety of different political campaigns. After, she attended culinary school in Paris and went on to own two highly successful restaurants. As if that wasn’t fulfilling enough, she sold the restaurants and created the Orange Arrow, an anti-restaurant invitation-only underground dinner club whose location remains hidden until you’ve been invited (you can sign up for the opportunity on their website). From this seriously intriguing set-up, she seemingly abruptly made her way into writing and recording music with Lupton, and in her spare time (who could possibly have spare time with a life like this!) sculpts for the Civilian Art Projects. Contrary to what that last, admittedly long paragraph may have implied, this is an album review. But with a resume like that, can you really blame me for including Greenwood’s career path?
The Beatin’s seven-track LP, perhaps as a reflection of their respective successes, doesn’t lack for vision, but the direction their combination of influences and inclinations leads them, while always interesting, doesn’t always make for great, full songs. That’s not to say that album isn’t good, but rather that the tracks, at times, aren’t as tightly constructed as they could be. Over the low-key southwestern edged music, Lupton rasps out lyrics with little modulation and a typical country-folk graininess that’s partly reminiscent of Eric Earley from Blitzen Trapper. The (I can only assume) ironically preachy “Idlin’” (i.e. “time to stop your idlin’ / get on your knees and pray” and “if you don’t like your brother / don’t scandalize his name”) slinks along with a slow thump and sparse-enough instrumentation as to give it an easy, toothy-grinned vibe that easily makes it one of the best songs they have to offer."
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