Judy at Carnegie Hall
'Achingly beautiful and musically kaleidoscopic, Judy at Carnegie Hall is a subtly infectious, densely layered, and brilliantly well-produced piece of work.' ~ Mike Rowell / SF Weekly, March 2005 Six Eye Columbia blend the iconoclastic pop songcraft of GBV and The Flaming Lips, the lysergic sepiatone of Sparklehorse and The Red House Painters (with whom they share bassist Jerry Vessel), and the technicolor rush of godspeed/gospel psychedelia. Singer/songwriter Josh Pollock's lifelong passion for the latter has been heartily stoked by his recent collaborations with Japanese psych-rock warriors Acid Mothers Temple, Ruins, and legendary Can vocalist Damo Suzuki, as well as his tenure in the current incarnation of pioneering avant-rockers Gong. But, when it all comes down to it, ultimately his heart belongs to The Song. The band released two debut albums simultaneously in 2001: A Million Six, and the vinyl-only covers album Frowny Frown (on which everyone from Throbbing Gristle to Hall & Oates got the Six Eye treatment). They also wrote and produced Get Me Rodd Keith!!, a hit fever-dream quasi-musical about the infamous 70's songpoem industry, scored a few plays with Berkeley's Shotgun Players (including Iphigenia in Aulis for which they won a Bay Area Theatre Critic's Circle Award in 2002), and somehow still found time to let Josh moonlight with Pansy Division (that's him playing banjo on their latest album) and blues/punk legend Gary Floyd. But their crowning achievement to date is easily their latest opus, Judy At Carnegie Hall--produced by Josh, drummer Dan Bruno, and engineer Jeff Byrd (Tarantel, Pinback, Beulah) Judy is a raging pop apocalypse on which their bright ideas, their grasp and the right people (culled from their ever-expanding auxiliary orchestra--their live line-up has careened unpredictably from three to nine people) came together at the right time to spawn a saturated, cinemascope epic of heartbreak, loss and hope.