REIVERS Uncle Green'90 POSTER Melvins AoMR Jason Austin

The REIVERSUNCLE GREENTWANG TWANG SHOCK-A-BOOM11" x 17"CONCERT POSTERCANNIBAL CLUB AUSTIN TEXAS1992POSTER ARTIST: JASON AUSTINCONDITION: EXCELLENT -9 OF 10 OR BETTERJASON "RECYCLED" THIS IMAGE FOR HIS 2000 MELVINS SILKSCREEN POSTERRARE!This is an original single sheet printed paper poster advertisement (A.K.A. street art, handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, printed prior to, and in conjunction with the promotion of the event. A Sound Deal does not sell poster re-prints, scans or duplications of any kind, so please don't ask. Add me to your favorites for red hot sales bulletins and sneak previews of upcoming products. Combine Items to Save $$$!!!Click here to check the store for more!Biographyby Jason Ankeny The Reivers began their existence as Zeitgeist, one of many melodic, jangly pop bands to emerge from the fertile Austin, Texas music community during the 1980s. Led by singers/guitarists John Croslin and Kim Longacre, Zeitgeist debuted in 1985 with the album Translate Slowly, which included their cover of Willie Nelson's "Blue Eyes Crying in the Rain." Shortly after the record's release, the group was slapped with a cease-and-desist order by another band called Zeitgeist, a Minneapolis-based percussion ensemble which had held the name longer; in honor of the William Faulkner novel, they became the Reivers. With Don Dixon producing, the band recorded 1987's Saturday, followed two years later by the assured End of the Day. 1991's Pop Beloved was the Reivers' final record; after their break-up, Croslin went on to produce the band Spoon. The Reivers were a pop band from Austin, Texas. Formed in 1984 as Zeitgeist, they were forced to change their name before releasing their second album in 1987, due to another group claiming prior rights to the name. They chose the name "The Reivers" from the title of the William Faulkner novel. The band included John Croslin, songwriter, vocalist, guitars; Kim Longacre, vocals, guitars; Cindy Toth, bass, violin; and Garrett Williams, drums. They were one of the best-known of a cluster of Austin-based bands sometimes loosely grouped under the name "New Sincerity." Writing for No Depression in 2008, critic Peter Blackstock described The Reivers as "a classic pop band . . . They balanced memorable melodies and unstoppable energy with seemingly effortless ease, contrasting the rough and sweet vocals of frontfolks John Croslin and Kim Longacre (respectively) amid an infectious swirl of chiming guitars and the unbelievably lively rhythms of drummer Garrett Williams and bassist Cindy Toth." The band released four albums, all of which received critical praise but not much commercial success, before disbanding in 1991. Croslin went on to work as producer and engineer on records for a number of bands, notably Spoon and Guided by Voices. Two Reivers songs, "Almost Home" and "Araby," were covered by Hootie and the Blowfish on their 2000 collection Scattered, Smothered and Covered. In 1998, Stereophile critic Robert Baird called The Reivers "one of America's great lost bands." Croslin later co-founded an Austin band called The Fire Marshals of Bethlehem. In 2005 this band released an album entitled Songs For Housework, and Croslin subsequently left the band. The Reivers reunited in 2008 for occasional performances around Austin. On August 28, 2008, The Reivers played a benefit concert in Austin, and John Croslin announced that the re-formed band would now be called Right Or Happy. Under the new name, and now also including a keyboardist, Eric Friend, the band played at the 2009 South by Southwest, but so far no firm plans have been announced for new recordings.Discography * Translate Slowly (1985) * Saturday (1987) * End Of The Day (1989) * Pop Beloved (1991)Biographyby Steve Huey A jangly Southern power pop band in the classic mold, Atlanta-based Uncle Green featured vocalists/guitarists/songwriters Matt Brown and Jeff Jensen, bassist Bill Decker, and drummer Pete McDade. Naturally, Uncle Green looked to R.E.M. as a chief influence, but also drew from less elliptical power pop influences both classic (the Beatles, Squeeze) and contemporary (Trip Shakespeare, the Posies, Matthew Sweet). Formed when some of its members were just 15, Uncle Green debuted with two albums for the small New Vision label (1987's Get It Together and 1988's 15 Dryden), but didn't truly hit their stride until signing with the indie DB. Produced by Brendan O'Brien, 1989's You was a major step forward, finding Brown and Jensen both perfecting their voices as lyricists and their senses of craft and structure as tunesmiths. 1991's What an Experiment His Head Was further refined the group's sound and helped them land a major-label deal with Atlantic. With O'Brien again at the helm, Uncle Green recorded Book of Bad Thoughts, their hardest-rocking -- and, some said, best -- album yet. Unfortunately, despite radio's greater receptivity to Uncle Green's style of music, the record failed to catch on with a wider alternative audience; after Atlantic ditched them, the group wound up disbanding in 1994. However, they immediately regrouped -- with the exact same lineup -- as the slightly more alt-rock-sounding 3 Lb. Thrill; they signed to O'Brien's Sony subsidiary 57 and recorded one album, Vulture, in 1995. Campus Life: Texas; Band on the Rise: Twang Twang Shock-a-BoomPublished: Sunday, May 27, 1990 - nytimes.comIf college music provides an indication of the future, twang tunes, a new rage at the University of Texas, may catch on. ''Our music is hard to put in a category,'' said David Garza of Irving, who sings and strums acoustic guitar for the Twang Twang Shock-a-Boom band. ''We improvise like jazz musicians, but we play original pop songs with acoustic instruments. We're just not a typical-sounding college band.'' The group, which includes Jeffrey Haley, 20 years old, the bass player, and Christopher Searles, 18, percussionist, describes twang music as a simple acoustic sound with funk, reggae and folk influences. The band began playing free outdoor concerts in the fall. The following grew, and the performances attracted more than 200 listeners. ''We thought that we would be spit on, but we made almost $80 on our first try,'' said Mr. Searles, a music freshman from Austin. ''People just sat down and started listening.'' The group's first tape reached No. 2 on the popularity chart at the student radio station, KTSB. Mr. Garza, 19, a music major, said the success might stem from the band's youth as well as its music. ''Most college students are our same age,'' he said. ''We sort of fill the gap between the older popular bands and the New Kids on the Block.'' Mr. Haley, 20, a music sophomore from Austin, said the lyrics covered apartheid and AIDS, as well as silly tunes about subjects like fish sticks. Twang Twang Shock-a-Boom has also opened for acts like They Might Be Giants and Michelle Shocked. Photo: Twang Twang Shock-a-Boom band performing twang tunes at the University of Texas at Austin. ''We improvise like jazz musicians, but we play original pop songs with acoustic instruments,'' said David Garza, center above, leader of the group, with Christopher Searles, left, and Jeffrey Haley. (Elizabeth Potter)Biographyby Brian Raftery Born in Irving, TX, Davíd Garza (pronounced Dah-VEED) was exposed to music at an early age. His mother sang in a choir, his older brothers were diehard classic rock fans, and Garza himself worshipped the Mexican music he picked up on his radio. In 1989, following stints in numerous high-school bands, Garza enrolled in the University of Texas-Austin, where he and his oddly named outfit Twang Twang Shaka Boom gained industry attention for Garza's combination of pop-savvy songwriting and Robert Plant-style vocals. After leaving the group to go solo, he gigged continually around and outside the Texas area. At first, Garza rebuffed various offers, choosing instead to record and distribute music on his own. He eventually signed with Lava/Atlantic, who landed him a slot on the Great Expectations soundtrack before releasing his major-label debut, This Euphoria, in April 1998. Garza subsequently drew multiple critical accolades (as well as comparisons to the late Jeff Buckley) and toured with the Smashing Pumpkins and Ani DiFranco; he issued Kingdom Come and Go a year later. The most productive of Austin's young poster artists is Jason Austin. Born on Long Island in '71, he moved to Texas in 1978, and designed his first poster ten years later. His earliest pieces were signed "J. Wichrowski," and for a time he used the allonym "Zebulon Woodhull." Often approximating a neo-psychedelic look and using quasi Sixties era lettering, Austin nonetheless shares the penchant for gory and horrific imagery currently favored by many alternative posterists. He often works with Lyman Hardy, who began creating posters in Houston about '85 and moved to Austin in 1990. - jagmo.com©A Sound Deal