In the Beginning - Revision history

Dotclub at 23:50, 13 August 2023

2023-08-13T23:50:28Z

← Older revision		Revision as of 16:50, 13 August 2023
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	}}		}}
	== Background ==		== Background ==
	According to Discogs user mpavilion<ref>https://www.discogs.com/release/14609189-Girl-Friday-In-The-Beginning</ref>		According to Discogs user mpavilion, a group member stated in 2017 that "maybe a few thousand copies" were pressed<ref>https://www.discogs.com/release/14609189-Girl-Friday-In-The-Beginning</ref>
	~~<blockquote>Per email exchange with a group member (in 2017), "maybe a few thousand copies" were pressed.</blockquote>~~

	== Personnel ==		== Personnel ==

imported>Dotclub at 09:17, 10 April 2023

2023-04-10T09:17:18Z

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	== Track list ==		== Track list ==
	{{track listing		{{track listing
	~~\| headline = Side A~~
	\| title1 = [[Black & White Love]]		\| title1 = [[Black & White Love]]
	\| length1 = 3:35		\| length1 = 3:35

imported>Dotclub at 01:50, 3 April 2023

2023-04-03T01:50:27Z

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	== Personnel ==		== Personnel ==

	* Alexis Hall - vocals, writer
	* [[Tom Watson]] - guitar, writer		* [[Tom Watson]] - guitar, writer
	* [[Mayo Thompson]] - piano, harmonica, writer		* [[Mayo Thompson]] - piano, harmonica, writer
			* Alexis Hall - vocals, writer
	* Andrew Parsegian - bass		* Andrew Parsegian - bass
	* Bill Bowman - bass		* Bill Bowman - bass

imported>Dotclub at 23:20, 2 April 2023

2023-04-02T23:20:43Z

← Older revision		Revision as of 16:20, 2 April 2023
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	{{ReleaseInfo		{{ReleaseInfo
	\|Title=~~The Parable of Arable Land~~		\|Title=In the Beginning
	\|Image1=In-The-Beginning-front.jpg		\|Image1=In-The-Beginning-front.jpg
	\|Image2=		\|Image2=
	\|Artist=Girl Friday		\|Artist=[[Girl Friday]]
	\|Type=EP		\|Type=EP
	\|ReleaseDate=1997		\|ReleaseDate=1997

imported>Dotclub at 23:20, 2 April 2023

2023-04-02T23:20:29Z

← Older revision		Revision as of 16:20, 2 April 2023
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	April 23, 1998<ref>https://web.archive.org/web/20010609222153/http://www.newtimesla.com/issues/1998-04-23/music3.html</ref><blockquote>Between the two of them, [[Mayo Thompson]] and [[Tom Watson]] have spent a good 50 years inverting the cliches of pop music and twisting them into art-damaged demi-rock--the former as founder and figurehead of the long-running and very tweaked [[The Red Krayola\|Red Krayola]], the latter as guitarist and sometime singer in such (slightly more rockist and traditional) bands as Slovenly and Overpass (and also as a member of the Krayola's '90s incarnation). Given their extensive and extensively subversive discographies, the idea of either guy embracing pop's traditions would seem slightly less likely than, say, a blizzard in downtown Manhattan Beach.		April 23, 1998<ref>https://web.archive.org/web/20010609222153/http://www.newtimesla.com/issues/1998-04-23/music3.html</ref><blockquote>Between the two of them, [[Mayo Thompson]] and [[Tom Watson]] have spent a good 50 years inverting the cliches of pop music and twisting them into art-damaged demi-rock--the former as founder and figurehead of the long-running and very tweaked [[The Red Krayola\|Red Krayola]], the latter as guitarist and sometime singer in such (slightly more rockist and traditional) bands as Slovenly and Overpass (and also as a member of the Krayola's '90s incarnation). Given their extensive and extensively subversive discographies, the idea of either guy embracing pop's traditions would seem slightly less likely than, say, a blizzard in downtown Manhattan Beach.

	So here's your snow shovel. Girl Friday--a year-old songwriting collaboration between Thompson, Watson, and vocalist Alexis Hall (late of Hello, I'm a Truck)--is a full-on pop record, generally conventional and irony-free, a set of six short, simple songs--perhaps the most novel of concepts for these three. And they pull it off wonderfully; it's a winsome EP full of goofy wit and catchy tunes that revel in their own lack of complexity. Hall, in particular, executes her role with something approaching perfection. Her lyrics employ a kind of reductivist, tongue-in-cheek sexuality, the clear model of which is the '60s girl-group--"Black and White Love" turns getting pulled over by a cop into an extended come-on metaphor ("You have the right/To hold me tight," etc.); on "Girl Friday," she delivers an archetypal ballad of devotion with nary a wink: "I'm forever your girl Friday/And Monday/And Tuesday/And Wednesday," and so on. Her voice tends toward the requisite breathy coo, but Hall's occasional flashes of attitude (most notably on the verses of "Black and White") keep things honest; like the best new wave singers, she uses them to achieve the necessary distance from formula.		So here's your snow shovel. Girl Friday--a year-old songwriting collaboration between Thompson, Watson, and vocalist Alexis Hall (late of Hello, I'm a Truck)--is a full-on pop record, generally conventional and irony-free, a set of six short, simple songs--perhaps the most novel of concepts for these three. And they pull it off wonderfully; it's a winsome EP full of goofy wit and catchy tunes that revel in their own lack of complexity. Hall, in particular, executes her role with something approaching perfection. Her lyrics employ a kind of reductivist, tongue-in-cheek sexuality, the clear model of which is the '60s girl-group--"[[Black & White Love\|Black and White Love]]" turns getting pulled over by a cop into an extended come-on metaphor ("You have the right/To hold me tight," etc.); on "[[Girl Friday (song)\|Girl Friday]]," she delivers an archetypal ballad of devotion with nary a wink: "I'm forever your girl Friday/And Monday/And Tuesday/And Wednesday," and so on. Her voice tends toward the requisite breathy coo, but Hall's occasional flashes of attitude (most notably on the verses of "Black and White") keep things honest; like the best new wave singers, she uses them to achieve the necessary distance from formula.

	The new wave comparison actually works for the whole band, considering the music's similar delight in simplicity. A few moments might start to betray Thompson/Watson's art-rock background, but you'd scarcely notice 'em if you weren't looking ("Pretty Gem Stone" is the most obvious offender). Not that such tendencies are incompatible with pop; it's just not the point here. The music does what it's supposed to: it gets you humming and stays out of the way. "Only You" and "All I Wanted" bounce and jangle, "Sad Clown" and "Girl Friday" sway and croon, but it's all traditional, all well-written, all good. </blockquote>		The new wave comparison actually works for the whole band, considering the music's similar delight in simplicity. A few moments might start to betray Thompson/Watson's art-rock background, but you'd scarcely notice 'em if you weren't looking ("[[Pretty Gem Stone]]" is the most obvious offender). Not that such tendencies are incompatible with pop; it's just not the point here. The music does what it's supposed to: it gets you humming and stays out of the way. "[[Only You]]" and "[[All I Wanted]]" bounce and jangle, "[[Sad Clown]]" and "Girl Friday" sway and croon, but it's all traditional, all well-written, all good. </blockquote>

	== References ==		== References ==

imported>Dotclub at 23:18, 2 April 2023

2023-04-02T23:18:05Z

@@ Line 27: / Line 27: @@
 == Track list ==
+{{track listing
 == Background ==
 == Personnel ==
 == Reviews ==

imported>Dotclub at 23:11, 2 April 2023

2023-04-02T23:11:37Z

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	\|Year=1997		\|Year=1997
	\|RecordingDate=		\|RecordingDate=
	\|Studio=		\|Studio= Ice Bone Studio
	\|RecordingLocation=		\|RecordingLocation= Redondo Beach, CA
	\|Label=		\|Label=
	\|DragCity=		\|DragCity=

imported>Dotclub at 23:10, 2 April 2023

2023-04-02T23:10:25Z

← Older revision		Revision as of 16:10, 2 April 2023
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	~~[[File:~~In-The-Beginning-front.jpg\|~~thumb]]~~		{{ReleaseInfo
			\|Title=The Parable of Arable Land
			\|Image1=In-The-Beginning-front.jpg
			\|Image2=
			\|Artist=Girl Friday
			\|Type=EP
			\|ReleaseDate=1997
			\|Year=1997
			\|RecordingDate=
			\|Studio=
			\|RecordingLocation=
			\|Label=
			\|DragCity=
			\|Discogs=https://www.discogs.com/release/14609189-Girl-Friday-In-The-Beginning
			\|RYM=
			\|Wikipedia=
			\|Bandcamp=
			\|YouTube=
			\|AppleMusic=
			\|Spotify=
			\|Genius=
			\|UbuWeb=
			\|AllMusic=
			\|Archive=
			\|IMDB=
			}}

	== Track list ==		== Track list ==

imported>Dotclub at 23:06, 2 April 2023

2023-04-02T23:06:19Z

← Older revision		Revision as of 16:06, 2 April 2023
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	[[File:In-The-Beginning-front.jpg\|thumb]]		[[File:In-The-Beginning-front.jpg\|thumb]]

	~~Girl Friday - In The Beginning (1997)~~		== Track list ==

			== Background ==

			== Personnel ==

	== Reviews ==		== Reviews ==
	* 1998-04-23 New Times LA by Keven McAlester [https://web.archive.org/web/20010609222153/http://www.newtimesla.com/issues/1998-04-23/music3.html Archive.org]

	== ~~Links~~ ==		=== New Times L.A. ===
			Keven McAlester

			April 23, 1998<ref>https://web.archive.org/web/20010609222153/http://www.newtimesla.com/issues/1998-04-23/music3.html</ref><blockquote>Between the two of them, [[Mayo Thompson]] and [[Tom Watson]] have spent a good 50 years inverting the cliches of pop music and twisting them into art-damaged demi-rock--the former as founder and figurehead of the long-running and very tweaked [[The Red Krayola\|Red Krayola]], the latter as guitarist and sometime singer in such (slightly more rockist and traditional) bands as Slovenly and Overpass (and also as a member of the Krayola's '90s incarnation). Given their extensive and extensively subversive discographies, the idea of either guy embracing pop's traditions would seem slightly less likely than, say, a blizzard in downtown Manhattan Beach.

			So here's your snow shovel. Girl Friday--a year-old songwriting collaboration between Thompson, Watson, and vocalist Alexis Hall (late of Hello, I'm a Truck)--is a full-on pop record, generally conventional and irony-free, a set of six short, simple songs--perhaps the most novel of concepts for these three. And they pull it off wonderfully; it's a winsome EP full of goofy wit and catchy tunes that revel in their own lack of complexity. Hall, in particular, executes her role with something approaching perfection. Her lyrics employ a kind of reductivist, tongue-in-cheek sexuality, the clear model of which is the '60s girl-group--"Black and White Love" turns getting pulled over by a cop into an extended come-on metaphor ("You have the right/To hold me tight," etc.); on "Girl Friday," she delivers an archetypal ballad of devotion with nary a wink: "I'm forever your girl Friday/And Monday/And Tuesday/And Wednesday," and so on. Her voice tends toward the requisite breathy coo, but Hall's occasional flashes of attitude (most notably on the verses of "Black and White") keep things honest; like the best new wave singers, she uses them to achieve the necessary distance from formula.

			The new wave comparison actually works for the whole band, considering the music's similar delight in simplicity. A few moments might start to betray Thompson/Watson's art-rock background, but you'd scarcely notice 'em if you weren't looking ("Pretty Gem Stone" is the most obvious offender). Not that such tendencies are incompatible with pop; it's just not the point here. The music does what it's supposed to: it gets you humming and stays out of the way. "Only You" and "All I Wanted" bounce and jangle, "Sad Clown" and "Girl Friday" sway and croon, but it's all traditional, all well-written, all good. </blockquote>

			== References ==

imported>Dotclub: Dotclub moved page In The Beginning to In the Beginning without leaving a redirect

2023-04-02T23:03:04Z

Dotclub moved page In The Beginning to In the Beginning without leaving a redirect

← Older revision	Revision as of 16:03, 2 April 2023
(No difference)