1
MAXIMUM ROCK'N'ROLL
DECEMBER
ABSOLUTE GREY - GREEN HOUSE
The folkish side of neo-'60's pop emerges on this lilting EP, which reminds
me for all the world of later-period BANGLES. The most energetic material
here is recorded live, but that isn't enough to revive this limp slab of
wax.--SS
FORCED EXPOSURE # 11 winter 87
ABSOLUTE GREY - Live at CBGB's Cassette
...some dudes out there may think my sentiments're those of a fruit, but
who cares? The woof that Absolute Grey vented fit in my ear like a little
custom-designed conch shell. Beth Brown's voice snugged into the nth gen
revo-six-dropout/collegiate twill like a rabbit in pajamas. 'N to say that
is not high-sonic-ginch is to perjure yourself before a crowd. This bein'
a board mix and all, the instruments're mixed a bit lower than we woulda
perhaps liked, but it's all there and this band did not pull up short in
a live context. If ya don't think so, why don't ya "dimple up"
on Mike McG's "shorty?"
BRYON
FORCED EXPOSURE # 11 Winter 87
ABSOLUTE GREY - What Remains / Greenhouse
...Complete knock-out of a second LP from these Rochestern servants of genius-pop-beauty.
A follow up to the almost-great "Greenhouse" (now re-issued by
Midnight). "What Remains" stands atop even that and is strong
evidence that ordinary gumps can make fragile substance that is absolutely
not weak, limp, or languid. One of the year's best.
JIMMY
SOUND CHOICE 4/87
ABSOLUTE GREY: WHAT REMAINS-LP
Second LP from this quartet continuing in the moody folk-rock style of the
first. Production seems improved and less muddy this time. Singer Beth has
a warm tone that is the most distinctive part of their sound. I don't think
music of this genre is dull by definition but unfortunately I find this
album to be. (Midnight Records)- Pam Kirk
U.S. ROCK #62
ABSOLUTE GREY : GREENHOUSE-Earring LP
For chrissakes, when will the big labels stop wasting our time with haircut
bands and start discovering groups like this? Absolute Grey are a creative
pop band from Rochester-- a little folk, a little Velvets influence, and
a lot of heart. Guitarist Matthew Kitchen takes a cue from REM and builds
textures without overplaying. But the best part is Beth Brown's vocals:
a pure and pretty voice with no fake mannerisms. The songs build up slowly,
but the hooks kick in; and the two live tracks (including a fine version
of the Velvets' "Beginning to See the Light") make a rough contrast
to the muddier sound of the studio songs. The production could be a little
better, but it fits the untrained charm of this band.
PO Box 10562, Rochester, NY 14610-- Brett Milano
ROCKPOOL NEWSLETTER-Vol.5 Issue 2 February 11, 1985
ABSOLUTE GREY- GREEN HOUSE(Earring Records EAR 2)
Jefferson Airplane 1985 without the drugs or politics, Absolute Grey from
Rochester, NY, is an absolute must. The band's outstanding feature is vocalist/lyricist
Elizabeth Brown. Throaty, rich and emotive, her feelings soar with the songs,
and are positively transfixing. Assisted by band Personal Effects, another
Rochester gem, GREEN HOUSE incorporates complex simplicities. The spaces
of the songs, without excessive audio ornamentation are what enhances the
mezmerizing, mind expanding quality of the music. No greys to this music;
upfront and definitive, this stuff will make you melt! "Saving Face"
and "Sidewalk" are absolutely amazing. Contact: Pat Thomas, PO
Box 10562, Rochester, NY 14610 (716)244-5076-- Claudia
SOUNDS May 25, 1985
ABSOLUTE GREY-GREEN HOUSE(Earring EAR2)
ABSOLUTE GREY-(Acid Tapes 012)
Think of Rochester, New York State, and which quintet blows through your
mind? The Chesterfield Kings, of course! But the Kings had better look to
their crowns, 'cause Rochester's got some new pretenders- Absolute Grey
boil a heap heady psychedelic brew.
Psychedelia without colour is a bit like jazz funk without a bassline,
but this bunch's dull name is no indication of their true musical pigmentation.
Rocketing out of a similar lysergic watering hole to fellow Noo Yorkers,
The Mad Violets, this quartet take off as energy-filled as early Jefferson
Airplane while their taste in covers is impeccable: the Velvets' "Beginning
to See the Light" and, surprise, surprise, the Dream Syndicate's "Tell
Me When It's Over". The studio performances, at their best, are raga-tinged
folk rockers. They haven't quite got the songwriting up to scratch yet,
but the promise is all there, bless their pointed little heads.
MAKING TYME! Issue1-
ABSOLUTE GREY- GREEN HOUSE-LP (Earring Records)
Even if I didn't know that Absolute Grey opened for both the Rain Parade
and Long Ryders I'd still think of those groups better days, while listening
to A.G.'s GREEN HOUSE LP. The band is from Rochester, NY (home of the CHESTERFIELD
KINGS!) and like the Kings, Absolute Grey loves the 6t's too, but in a different
way (the CAWAY)- instead of fuzz, it's drone, instead of riffs, it's moods,
and instead of hooks, its layers. My fave song on the LP is the first "More
Walnuts", with great building harmonies, guitars and the popedelic
lyrics: :You looked into my mynde/You looked through...me". "Memory
of You" remyndes me (lyke mad) of the Jefferson Airplanes' early daze,
it's cool and does swing! :Remorse sounds like the Bangles (more like Bangs,
but) it's folk-Byrdsy pretty-pop. I can't wait 'till they play the city
again, I'll be there!-- Mick London
BUCKETFUL OF BRAINS- Issue 11
ABSOLUTE GREY:ABSOLUTE GREY (Acid Tapes)
New York's Absolute Grey, three guys and a girl singer, offer a six track
studio set together with a live set of similar length. The live set was
recorded at Scorgies' "Andy Warhol Show" and as such perhaps betrays
the Velvets as a vague influence here though with a bias towards their more
melodic material. All the songs are originals, except for a cover of The
Drean Syndicate's "Tell Me When It's Over", with strong vocals
and guitar well to the fore- particularly on the live numbers "More
Walnuts" and "Memory of You" which builds to a powerful climax.
The studio side is more restrained but still interesting and I'd like to
hear the debut LP "Green House".-- Jon Storey
OPtion Music Alternatives- May/June 1985 B Issue
ABSOLUTE GREY: GREEN HOUSE
This Rochester, NY quartet would be shuffled off to the paisley underground
if they were from the West Coast; comparisons to Rain Parade and Clay Allison
are not unfair, although I hear a purer folk sound than the nutmeg-and-incense
crowd usually evokes. Elizabeth Brown has a vibrant, wistful voice, capable
of dipping into husky irony, then suddenly slipping up the scales toward
a pained lilt. The drums and bass are possibly too muted, tempered by the
tasteful acoustic guitar that dominated the proceeding. (The band reveals
a harder edge on the two live cuts included). "Sidewalk" in particular
works in this restrained context: instrumentals and vocals come together
in simple melodic glee, yet a sense of lonely isolation is imparted thanks
to the sparse production. Loneliness seems to be a focus--shades of grey
musically and visually (the LP cover)--and thus even the most uptempo tune,
buoyant though it may be, is called "Remorse". This 8-song disc
is occupying a lot of time on my turntable and sharing the same place in
my heart occupied by Salem 66, the Graphic, One Two, and the Go-Betweens.
(And Velvets fans: a great live version of "Beginning to See the Light"
is here.)---Fred Mills
BANG-Issue 7
ABSOLUTE GREY-"GREEN HOUSE"
The so-called "Paisley Underground" has reached upstate New York,
where this four-piece group hails from. Their debut album's 8 songs (including
2 live cuts) are played well and with feeling, but I can't help thinking
that more could have come out of this band. "Remorse"--previously
released on a demo cassette--and "Memory of You" (live) were standouts.
"Sidewalk" had its moments-- decent lyrics and an emotional, building
chorus. Beth Brown is a strong,
masculine singer and the band's instrumental sound is reminiscent of
Salem 66 (albeit after several additional years of music instruction).
The best cut was a cover of "Beginning to See the Light", a Velvet
Underground song, recorded live at Scorgie's, a Rochester club.
Why is it that this band did best with someone else's material? Why is it
that the best tracks were live recordings? This is definitely a band to
watch for, as soon as they get their songwriting together, stop recycling
old Rain Parade riffs, and try recording with a real producer. All in all,
"Green House" is a decent self-produced 8-track album from (what
I suspect to be) a very good band. But there's not much here to convince
me that this band isn't just another part of a Paisley fashion show. --Grave
TASTY WORLD MAGAZINE- From the South- Music and Arts
ABSOLUTE GREY- GREEN HOUSE (Earring Records, EAR 2)
Another Rochester, NY band. This is good pop, Elizabeth Brown sailing with
gorgeous vocals. The trio of male musicians exude a vibrant, real brand
of music that blends well with Ms. Brown's voice. If you all keep putting
out good vinyl like this people might think you've got a "scene"
up there or something.
This fine folk-rock changes tempo with adeptness. Like the changing of the
seasons, they vary the intensity of their musical weather. On "Notes"
this comes through, and on "Willow" as well. Having live tracks
on each side is an excellent way to capture the true colors of this band.
Their cover of the Velvet Underground's "Beginning to See the Light"
is commendable. Eight songs that captivate the heart and the mind. "More
Walnuts" is very catchy, and would be appreciated by ANY radio audience.
This is a very friendly record, that is easy for you to make friends with.
GOLDMINE - December 19, 1986
ABSOLUTE GREY: WHAT REMAINS-Midnight (MIR 125)
This Rochester combo plays a somewhat offbeat brand of folk-rock that might
seem a bit thin the first few times through, but then it becomes hauntingly
mesmerizing.
The key to this is Beth Brown's cool, never overbearing, vocals. She lures
the listener in with her matter-of-fact style and sounds great over the
sparse musical support. Windbreaker/Rain Parade/Let's Active utility player
Tim Lee's production shows restraint, giving it just the right amount of
atmosphere to capture the ears of both sixtiesphiles and new wavers. There's
some fine stuff here.--Charles P. Lamey
EAST COAST ROCKER- November 19, 1986-
INDIE UPDATE
.... Rochester's icily compelling ABSOLUTE GREY have two albums currently
out on Midnight, the new "What Remains" and a reissue of
their first lp, "Green House".....
THE BOB-MAY-JUNE 1987- ISSUE 30-Page 32-35-
RITES OF FURY- Karen Schoemer Corners Busy TIM LEE- Confessions of a Windbreaker-
.....Lee has continued to work with folks as diverse as ABSOLUTE GREY, the
Primitons, Faye Hunter(ex-Let's Active) and his own clique of local Jacksonite
musicians....
.....THE BOB: You had alot of records come out last summer.
LEE: PAID VACATION, Beat Temptation, Gone Fishin', and the new 12-inch all
came out.....
.....THE BOB: Sometimes you just get the right feeling right away.
LEE: And that's all that matters. When I did the ABSOLUTE GREY record, I'd
had demos of all the songs and I was talking to Beth one day and telling
her that I really liked that song, "A Joke". I liked the imagery
of those lines of "There's a joke they always tell, there's a joke
I never tell." And she's goin', "Well, what is it you get out
of that?" And I couldn't tell her! I was like, "Well, uh, uh,..."
There was just no way to explain it; it was just someting that really hit
me, these lines that don't make any sense--but they DO. They make perfect
sense in my mind, but I couldn't verbalize it to her.
It was really funny, because they were telling me what all the songs were
about as we went along and it was real odd. It was really personal stuff
to these people, but they were telling me about it because I was there working
on their record. I enjoyed it-- it was really cool to know what the songs
were about-- 'cause so many times I work on things of mine that I don't
even know what they're about, just these things that happen.
THE BOB: How did you hook up with ABSOLUTE GREY?
LEE: I just met them when I was up there on one of those Let's Active tours,
and Pat had "Any Monkey With A Typewriter" and loved it to death
and wrote about it in his fanzine. They sent me a copy of "Green House"
and I really liked it. So I wrote back and said I really liked it, and if
they ever needed any help to give me a dial, and they called me up. It was
really done in a studio in this guy's house--I think it worked out real
well, it was one of the more fun projects I've ever done. I enjoyed the
whole thing. They were real fun to work with, which is real important to
me. I'm easily distracted when I'm not having a good time. I do so much
stuff in terms of producing, where you work with people who don't trust
you; they think you're setting out to ruin their sound or something. They
ask you to do it, but they don't want you to change anything.
There's another band from Alabama called Even Greenland that put out a single
on their own that I produced. With them it was fun but it was like pulling
teeth to get them to do things, cause they really wanted to do things their
way. ABSOLUTE GREY started out like that, saying, "We want to make
it sound like when we play live." "Well, why don't you just make
a live tape?" They ended up trusting me, or so they seemed to, I guess.
I worked with everybody on the individual things. They came in and did basic
tracks, then the bass player would come in to redo his stuff, the guitar
player would spend a day redoin' guitar parts. They'd come in one or two
at a time. It wasn't like four people all talking back and forth all the
time. It's good to work with people one-to-one like that instead of making
these group announcements.....
CITY Newspaper- April 4, 1985-Vol.14, number 28
ABSOLUTE GREY
This Rochester group has built up a strong following quickly--- and is celebrating
an April engagement in New York City.(with photo)
CITY POP by Tim Mikesell-
BEGINNING TO SEE THE LIGHT
Among the handful of local "modern" music bands that play all-original
material at clubs like Schatzee's, Scorgies and the Snake Sister's Cafe,
ABSOLUTE GREY ranks among the best (with Invisible Party and Personal Effects).
Even though two of the members are still in high school, the music they
make reaches beyond their years, and they have a good shot at gaining a
following outside the local area.
They first got together in September of 1983 when Pat Thomas answered an
ad for a drummer that Beth Brown, Mitch Rasor and Matt Kitchen were looking
for. So far they've released a six-song cassette and a debut album, "Greenhouse",
both of which have done well in terms of underground success.
Their musical personality is dark: Brown has a strong vocal presence and
can make her lyrics-that-need-work sound unpretentious. Thomas is a sure
drummer who handles the typical alternating tempos of a song convincingly.
Rasor could be the most imaginative musical presence, with a gift for playing
as well as writing.
In the live setting ABSOLUTE GREY's music has a human texture to it. There's
an exchange between players that gives the original material an extra charge
and sense of flow. The songs themselves have substance to them, and are
played with a sense of consequence. Their music matters to them.
This is less obvious on the "Greenhouse" record, although response
to the disc has been quite favorable. Rockpool, a tip sheet for college
radio stations, called the sound "upfront and definitive", adding
"this will make you melt!"
With favorite bands such as The Velvet Underground, Dream Syndicate, the
Replacements and R.E.M., ABSOLUTE GREY's members mine their influences while
exploring distinctly shadowy expressions. The music they play makes you
want to get up and dance, but not necessarily kick your heels with joy.
Thomas understands the need for self-promotion--no one is going to come
and knock on your door with a contract. Creating your own opportunities
is essential. Thomas mails out records, writes his own fanzine called the
Notebook, and corresponds with his heroes in the record world. When new
music groups come to town, he makes sure to meet principal figures like
Let's Active's Mitch Easter and Tim Lee.
As a result of this steady self-plugging, as well as the merits of the music
itself, Tim Lee recently offered to produce the next record, which should
come together this summer. It's a good break--- Lee's name next to ABSOLUTE
GREY's will gain the Rochester group some attention that it might not otherwise
get from those who respect Lee's music.
And a new music manager has shown an interest in helping the band, booking
an appearance at New York City's renowned CBGB's on April 12. On the basis
of this gig, there could be more work on the road this summer.
These initial positive responses are good signs, even though it will take
several tours and independently financed projects before ABSOLUTE GREY begins
to see a return on its considerable investment. The best bands are driven
for the long haul, and ABSOLUTE GREY has most of what it takes already.
The rest should come naturally. (with a photo of the band)
CITY Newspaper- February 7, 1985
CITY POP by Tim Mikesell-
LOCAL RELEASES
I'm drawn to the way Elizabeth Brown sings the cascading refrain of "Saving
Face", the second song on ABSOLUTE GREY's debut album. She has a detached
posture that somehow makes this local band's overall sound more revealing
than their underground colleagues, Personal Effects.
Both groups have new records out: ABSOLUTE GREY's "Greenhouse"
can sound ambitious in places, but the signature of sound is original, and
ultimately pleasing. Personal Effect's "Bring Out the Jazz" is
an attempt to bring a clean, punchy sheen to an otherwise elusive presence.
Matthew Reis Kitchen's acoustic guitar and Mitch Rasor's bass are mixed
rather simply on ABSOLUTE GREY's record. The local production effort doesn't
sound pretentious, and that's saying a lot. Good sound is expensive, and
ABSOLUTE GREY plays the hand well. The group has a love for structure, and
most songs speak for themselves-- less attention is paid to the mix than
is doted on in the arrangements.
Brown is not yet a mature singer--she invests intensity in words not yet
ripe enough for the effort, and she can sound contrived. Sometimes (as in
"Saving Face") she's best on "na-na-nas". But she carries
the rest of the band with a blase kind of suavity, and the result is better
because of her. Her personality becomes the band's personality.
Two of the songs are live performances (recorded at Scorgies), one of which
is a cover of the Velvet Underground's "Beginning to See the Light".
It's a hefty song to undertake, with the original Lou Reed vocal still ringing
in my ears. And yet the members of ABSOLUTE GREY do it justice, and it speaks
well for them in turn.
The song is about the dawn of a young adult's consciousness to all the corruption
in the world, and ABSOLUTE GREY does it with a lack of affection that has
few overtones of aging jadeness. By lining themselves up with a tradition
like the Velvets, the members of ABSOLUTE GREY hold up one huge ideal to
live up to. The debut record is good enough to suggest that they may yet
be worthy of their aspirations.
Personal Effects' "Bring Out the Jazz" is more professional, more
seasoned, and certainly stronger than 1984's "This Is It". It's
a dance record, with a loud, deep beat and party lyrics. The best moments
are funny: the title song is an arch parody-- the oddly shaped soprano sax
solos jab at the giddy lyrics like two colors that clash.
And "Watching You" can make me laugh out loud; the beat is nothing
less than groovy. "It's time we get off that time bomb we're sitting
on" is sung with an hysterical flair. Bob Martin's guitar solo on this
track makes him sound like a closet Tom Petty Freak (and that's a compliment).
Both records are distinct achievements, but I'm looking forward more to
the rumored Invisible Party recording project. Personal Effects may hold
the deanship of local modern music activity, with ABSOLUTE GREY waiting
in the wings, but Invisible Party is the heir apparent.
TIMES-UNION ----UPFRONT-Friday, January 4, 1985
....By comparison, another recent local release, "Greenhouse"
by ABSOLUTE GREY, sounds positively distinctive. The Rochester quartet (Mitch
Rasor, Elizabeth Brown, Patrick Thomas and Matthew Kitchen) got help on
the album from various members of Rochester's Personal Effects.
Still, it's not a sound that's uniquely Rochesterian in personality. Upon
close listening, the album suffers from a certain derivative quality.
In this case, the source is a blend of aging psychedelia (The Jefferson
Airplane, circa 1967) and modern guitar rock (like R.E.M. or Let's Active).
That's not all bad: ABSOLUTE GREY has come up with a couple of energetic
songs that recall the Airplane in its heyday, particularly "More Walnuts"
and "Remorse". but the record occasionally mistakes songs that
drone for songs that mesmerize....
THE LIVINGSTON MEDIUM-Wednesday, April 17, 1985
ABSOLUTE GREY- GREENHOUSE
Folksy pop-rock that recalls R.E.M., Salem 66, The Byrds, and the Velvet
Underground (they even do a cover of the Velvet's "Beginning to See
the Light"), with jangly guitar, an emotive female singer, deep lyrics,
and the capability to play a variety of textures within their chosen plot.
If you like this strain of music, you'll probably find this eight-song EP
enthralling. I did, especially, "Remorse", which already looks
like a contender for my personal Top 10 of 1985--bright, upbeat, melodic,
and intelligent.
MONROE DOCTRINE- Monroe Community College-April 1,1985
BAND'S DEBUT ALBUM A HIT-But Absolute Grey Needs Air Play-
By Roman Divezur
If ABSOLUTE GREY changed their name to ABSOLUTELY GREAT would they sound
just a bit pretentious? Judging by the strength of their debut album, "Greenhouse",
this is one pretention they could easily get away with. Fronted by the visually
and vocally attractive Beth Brown, this up and coming local sensation has
put many established performers to shame with their premier vinyl release.
Taking cues from R.E.M., "Greenhouse" opens with "More Walnuts",
an extremely cool tune whose art-pop title doesn't do it justice. "I'm
still so excited," lead singer Brown sings on "More Walnuts"'
opening phrase. Her excitement is matched only by the listener's and it
sets the tone for the album. "Saving Face", a bitter-sweet affair,
is next up, and it slowly graces itself onto the turntable.
"Friends will come and go,
but I want you to stay
When your brother comes I know
he'll take you away."
In an interview with the Monroe Doctrine Beth Brown explained that she wrote
the "Saving Face" lyric "for the band's guitarist".
How ironic, since Matt Kitchen's guitar virtuosity compliments her lyrical
insight so beautifully.
Brown's figurative but slippery lyrics are also featured in "Notes",
which somehow seems to be in dire need of a sitar and bongos. A trance-like
beat minus any mysticism augments her insights. The lyric, "Looking
at you through the leaves, it's a perfect symmetry" is enough to make
any beat poet plaid with jealousy.
Local bands do not usually gather much respect, and a "if they're so
good how come they're still here" attitude seems to dim some groups'
bright futures. ABSOLUTE GREY, releasing a great album, so far seems to
be on a borderline between local stardom and national obscurity (which includes
similar sounding bands such as Dream Syndicate and Rain Parade). Somewhere
along the line, some record exec has to take a chance on their sound and
hopefully promote it to the well-deserving masses. With some time and luck,
ABSOLUTE GREY may very well be Rochester's gift to the music world.
ABSOLUTE GREY's finest work, "Remorse", seems a bit too cheerful
for a morbid tune--but as the band said, "We do titles for fun."
Chock full of country harmonies, "Remorse" is somewhat reminiscent
of Barbara Mandrell's greatest hits played on 45 rpm. Worthy of much critical
praise and public acknowledgement, "Remorse" remains relatively
untouched by commercial radio; one could perhaps make a record compilation
of great songs the general public has never heard of. Add "Remorse"
to that album.
Two burning concert cuts were thrown into "Greenhouse" "so
people could see how the band sounded live", said drummer, Pat Thomas.
Recored at Scorgies', the band played a cover version of the Velvet Underground's
"Beginning to See the Light" as well as an energetic and original
"Memory of You". A consumate party song, were "Memory of
You" released as a studio version by a well-established musical group,
it would be a safe bet to proclaim it: MEGA HIT. Unfortunately, Top-40 brain-washed
radio programmers aren't euphoric about taking chances on new acts and therefore
seemingly refuse this bolt of lightning. Their loss.---(with photo of the
band--Captioned: "Members of local band ABSOLUTE GREY, a group worth
hearing.")
W.D.C. PERIOD- #8
ABSOLUTE GREY- "Greenhouse"
ABSOLUTE GREY has a sound that almost immediately reminds me of early Jefferson
Airplane (when Signe Anderson was in the band). The band obviously has its
roots in mid-sixties psychedelic folk rock, a strong beat with acoustic
guitar, and siren-like vocals. It's hard to describe Elizabeth Brown's vocals
without mentioning names like Anderson's and Salem 66, her voice adds as
much folk to the music as it does psychedelia. Being a fan of early P-folk
pioneers I found this record to be very worthwhile. "Let's get mellow
man"--G2
TIMES-UNION--April 24, 1985
TIP-OFF On Music
ABSOLUTE DEBUT: Rochester's ABSOLUTE GREY made their New York debut recently,
taking their bow at the Bowery's CBGB, the spawning ground of the Ramones,
Blondie, and the Talking Heads. Second-billed on one of the hangout's notorious
all-night rock-a-ramas, the foursome won two encores in a midnight "showcase
gig". Not bad, says drummer Pat Thomas, even if their marginal pay
for the show didn't cover expenses. "Half the audience was clapping,
the other half was just standing around. We figured that was pretty good
for New York", Thomas says. A live cassette of the performance will
be on sale shortly, and the band begins recording a new album this summer.
Mitch Easter cohort Tim Lee will produce.--Steve Dollar
THE BACKROOM BUZZ-The Official Newsletter of REAL GEORGES'
BACKROOM TV-11 April 1985
Earring Record's "Greenhouse" by ABSOLUTE GREY features a less
heavily produced, more live-approximated sound than "Bring Out the
Jazz". Included on the eight-band EP are two live cuts, their original
composition, "Memory of You", and an adequate cover of the Velvet
Underground's "Beginning to See the Light" (a number that is far
from that seminal band's best work), the rest having been recorded in the
studio with Personal Effect's Bob Martin and Paul Dodd co-producing with
engineer Dave Anderson and ABSOLUTE GREY.
Critical acclaim in the national press for a previous cassette release brought
ABSOLUTE GREY into the studio to cut "Greenhouse", their debut
vinyl release. Often musically compared to national acts such as Dream Syndicate
and Long Ryders, ABSOLUTE GREY purveys an interesting variation on New York
City cool and West Coast psychedelia.
Central to the group's sound are the throaty, emotional vocals of lead singer/lyricist
Beth Brown. Exciting things can be expected from Beth as she continues to
develop her own sense of style and personal approach. A folksy quality much
like that of the pre-"White Rabbit" San Francisco Bay bands is
discernable- trebly, upfront bass guitar by Mitch Rasor and ringing acoustic
guitar by Matthew Reis Kitchen compliment drummer Pat Thomas' fine tom tom
work and sizzling cymbals.
"Saving Face" is nearly a great song -due in large part to heart-rending
vocals by Beth Brown- only an ill-advised instrumental bridge dimishes its
impact.
A rousing chorus with lush over-dubbed vocals and minimalist bass lines
distinguish the band's original composition "Sidewalk". "Memory
of You" was, interestingly, recorded from a videotape by video artist
Russ Lunn--the group really kicks ass on this uptempo number. Other standouts,
collectively written by the band- "More Walnuts", "Remorse"
and "Willow", the latter featuring Beth's fine alto voice and
some nice tempo changes.
ABSOLUTE GREY is a young band, but one to watch in the future. The group's
fast numbers make you want to dance, while the slower ones have a hypnotic
quality (pass the hookah and watch the pretty record spin). You'll definitely
be hearing more in the future from this fine ensemble of talented musicians.--Michael
Dygert
NEGATIVE PRINT-No. 21-March-
ABSOLUTE GREY-
"Greenhouse"-
Well I could throw out quite a few names here, I didn't want to, but I have
to throw out one, I mean what else can I think of when I hear Psychodelic
pop of the laid-back variety with melodic female vocals? (No, I WON'T do
it!) This is a pretty cool disc from upstate NY, but I can complain about
monotony at points. I think that ABSOLUTE GREY will overcome this on their
next release. There's even a cover of the Velvet's "Beginning to Seethe
Light". Not bad.
CITY Newspaper- February 21, 1985-Vol. 14, number 22
The ABSOLUTE GREY record party at Scorgies recently wasn't as crowded as
the 600 that gathered to celebrate with Personal Effects at the Top of the
Plaza several weeks ago, but the audience was up, and ABSOLUTE GREY delivered
a set that made the record sound trivial. The members of the band are young--two
of them still in high school--but they played with an engaging authority
and force. Chief songwriter Mitch Rasor has sounds spinning around in his
head that are very tasty. Buy the record, because it has its moments. But
make sure you catch this band live--ABSOLUTE GREY delivers.
REPORTER
VINYL
NATIVE GREY IS UPWARD BOUND-
Although it may be contrary to popular trend, there are still musicians
producing music which is unquestionably distinctive. Rochester's own ABSOLUTE
GREY has been around since September of 1983 and have previously released
a six-track cassette, but now have cut an eight-tune album entitled "Greenhouse",
which is quite acceptable. The album features seven original compositions
by the band, and an interesting version of Lou Reed and the Velvet Underground's
"Beginning to See the Light".
The band consists of four members who obviously work well with each other.
Fronted by lyricist/lead vocalist Beth Brown, sound backing by drummer Patrick
Thomas, and catchy work by guitarist Matt Kitchen and bassist Mitch Rasor,
ABSOLUTE GREY has emerged as one of Rochester's freshest sounds. The live
version of the album may be viewed complete with psychedelic Jefferson Airplane
type visuals at Shatzee's, Scorgies, the Park Avenue Project, and at a select
number of area colleges.
Their sound is characterized by unique and imaginative lyrics which retain
Brown's sensitivity, and by the raw intensity of Kitchen's guitar work.
The band leans toward a psychedelic image, but it is hard to label their
music as such. In all, the band is quite difficult to classify because they
include different facets of various musical eras. They are simply different
and that maybe labels best their category.
As for the album, six of the eight tracks were recorded in the studio, while
the other two, which appear at the end of each side, were recorded live
at Scorgies. ABSOLUTE GREY has composed a couple of tunes, in particular
"Remorse", "More Walnuts", and "Saving Face"
that very much recall the musical style associated with the hardcore psychedelic
heyday of the late sixties. But the album sometimes falters in a couple
of songs that seem to drag for lack of a sense of direction. Overall though,
the rating is definitely thumbs up.
ABSOLUTE GREY had assistance on "Greenhouse" from members of another
area favorite, Personal Effects, and have opened for national acts The Long
Ryders and Rain Parade. Fans of Dream Syndicate will enjoy their style along
with followers of REM. It's too bad ABSOLUTE GREY was not around when the
Pretenders went sour, because Beth Brown could have picked up where Chrissy
Hynde left off.
If something new and unique sounds better than repetitive rubbish, then
check out "Greenhouse". The band's four talented and different
musicians have an upward climb but the potential is definitely there. Note
the name in the nearby future and certainly try to catch the live show.--Paul
Luczak
(with photo of the album cover ---Captioned: If something new and unique
sounds better than repetitive rubbish then check out "Greenhouse".)
SUNDAY DEMOCRAT AND CHRONICLE, ROCH. NY, -Jan. 13, 1985
SOUND JUDGMENT-
Members of Personal Effects have also helped another area band, ABSOLUTE
GREY, which has its first record, "Greenhouse", on Earring Records.
The eight songs on the record include two recorded live at Scorgie's, among
them a cover of Lou Reed's "Beginning to See the Light". This
is a very young outfit, with members still in high school, and the music
shows the influence of the psychedelic '60's revival championed by bands
like REM. But there is enough of a distinctive style at work to create an
impressive package for a new band.
The LANCE- Issue #2, November 1984-
ABSOLUTE GREY
Fronted by the unique Beth Brown as lead vocalist, with Patrick Thomas on
drums, and Sutherland students Matthew Kitchen and Mitchell Rasor, guitarist
and bassist, ABSOLUTE GREY is one of Rochester's most artful, original,
top-quality bands. Their enthusiastic shows (complete with background visuals
a la the psychedelic sixties) can be experienced at Scorgie's, Schatzee's,
and various area colleges.
Brown is the key lyricist, combining sensitive, intelligent poetry with
her lovely alto voice; most of her songs tend toward personal and emotional
thoughts. Thomas is the area's most versatile drummer, well matched with
Rasor's incredible, imaginative style. Add Kitchen's delicate guitar work
and this band has unlimited creative possibilities.
ABSOLUTE GREY has opened for national recording artists The Long Ryders,
Rain Parade and Rubber Rodeo. They call themselves "psychedelic",
a term that is somewhat misleading since it includes everyone from Bob Dylan
to Dream Syndicate to Echo and the Bunnymen. They have also been called
part of the "paisley underground", a movement characterized by
a raw, un-mixed guitar sound added to the intellectual zest of late sixties
folk rock, minus the political stances and groovy, mind-expanding drugs.
While they can be pigeonholed nicely into either of those two categories,
ABSOLUTE GREY defies classification because, simply, they avoid cliches.
They are four talented musicians who have created their own distinctive
sound and image-wise, they are by themselves.
ABSOLUTE GREY has been working on a forthcoming album entitled "Greenhouse"
with cover art by Sutherland graduate Will Kitchen. As for now, you can
pick up a copy of their self-titled cassette containing six of the band's
earliest works. Still, their live shows are the best, so go catch one. Fast!
'Cause this band is going places. ---Dara Lubin
(with a photo of the band-Captioned: L to R: Matt Kitchen, Beth Brown, Patrick
Thomas, Mitch Rasor at Scorgie's)
ABSOLUTE GREY
g:r:e:e:n:h:o:u:s:e
"The snazzier sound of this (album) is a plus...singing is great, too!"---
postcard from Mitch Easter-Jan. 1985
"Nice, tight, psychedelipop...would appeal strongly to fans of the
Long Ryders, Green on Red, Dream Syndicate."
OP magazine, Y issue- Aug. 1984
".....sounds positively distinctive...ABSOLUTE GREY has come up with
a couple of energetic songs that recall the (Jefferson) Airplane in it's
heyday, particularly "More Walnuts" and "Remorse".
Marshall Fine, TIMES UNION- Jan. 4, 1985
"By lining themselves up with a tradition like the Velvets (Velvet
Underground) the members of ABSOLUTE GREY hold up one huge ideal to live
up to. The debut record is good enough to suggest that they may be worthy
of their aspirations.."
Tim Mikesell, CITY Newspaper- Feb. 7,1985
NON-STOP BANTER-No. 12- May/June/July 1987
ABSOLUTE GREY-WHAT REMAINS---
WHAT REMAINS is a direct enough statement that you won't need an interpreter
to help translate its message. While evasiveness sometimes makes for pretty
gift wrapping, ABSOLUTE GREY knows that it's thoughts that count. Despite
the fact that this pop combo has since parted ways, WHAT REMAINS leaves
behind a piece of their collective mind for all to share. Dissect it and
pass along the knowledge.-----BRUCE
FORCED EXPOSURE #12- Summer 1987-
ABSOLUTE GREY- "Painted Post"-
...yurk! The vocals of Ms. Beth Brown set in a starker (nuder) landscape
than ever before. There are a coupla tracks here from the old quartet days,
but most is drummerless vocal "spend" cupped in quiet guitar/bass
figures. May I say that it's fucking amazing? I may. --Byron
CMJ #121- JULY 3, 1987-
..... There does seem to be some kind of trend toward acoustic , angelic
art-rock (Shellyan Orphan, Hugo Largo, Cocteau Twins), and it's into that
category that ABSOLUTE GREY's PAINTED POST almost falls. But then they pull
a twelve-string out of their hat, slap it through some echo and become a
Byrds-meet-Fairport folk-rock duo, and a rather engaging one at that....
ROCHESTER'S--SCENE- JUNE 1987-
ABSOLUTE GREY- PAINTED POST-
As far as female vocalists go, I'd usually opt for Marianne Faithfull, Lydia
Lunch, or Patti Smith-- something with a bit of a bite behind it. But as
far as ABSOLUTE GREY's album PAINTED POST goes, I may just change my mind.
This LP is ABSOLUTELY pretty, fragile, sentimental, and all of those without
being weak, watered down, wimpy, or languid. It's melodic and sincere, and
what about "Fences"? (my fave cut). Beth Brown's voice has a way
of pulling on one's emotional strings just when ya thought those walls were
secure. A good pop-rock beauty LP for anyones record collection.-- JANE
RATBEAT INTERNATIONAL #2-
ABSOLUTE GREY- PAINTED POST-
Hopeless sadness by ABSOLUTE GREY. Beth Brown's beautiful but oh so cold
voice cuts glass while Mitch Rasor accompanies with minimalistic gestures.
Three songs from the same mold makes one look for corners to press against,
for manic-depressives this A-side's a bargain.
However, B-side tries instead to shed some light on this grim era of ours
with traditional folky guitars but somehow warmth never penetrates the surface.
Another three song set out of the same mold but a much more hopeful one.
Looking for Grace Slick of the 80's? (well, the authenic one's definitely
no good, long gone and buried) grab a hold of Beth. ABSOLUTE GREY's got
style if you dig this type.--- (U)
ABSOLUTE GREY - PAINTED POST
OPTION SEPT - OCT 1987 P. 73
For the first few songs here the haunting style of Beth Brown's vocals and
the dreamy ballad - like music which accompanies them are guaranteed to
appeal. Slow and sentimental, but never maudlin, the songs are sparse in
their instrumentation, relying heavily on acoustic and electric guitar with
little other accompaniment, but rich in their sound. But too much of anything
tends to wear thin, and this is what happens here. After listening to side
one, you find yourself hoping fervently that the material on side two will
be slightly different, perhaps more upbeat. But it never happens, and by
the end of the record the music that was once appealing is now annoying.
By limiting themselves so closely to one particular style, the band terminates
the attraction they generate at the opening of the album. ---CAROL SCHUTZBANK
ABSOLUTE GREY
BUZZ OCT 1987
...Absolute Grey was a redeeming facet of this otherwise nauseating evening.
This group also had a female vocalist, but this one could sing. Beth Brown
belted out rich vocals which complimented the band's pop flavored melodies.
The songs contained catchy hooks, snappy base lines pelted by Mitch Rasor,
unblemished drum rolls played by Pat Thomas, and lilting, lyrical guitar
parts performed by Matt Kitchen. The tunes traversed soothing sentimentality
through revitalizing rock, and had provacative chameleon changes. --SUSAN
COHN (Review of a live show.)