Picture yourself in front of your record collection, deciding which one you'll listen to next. You finally choose 'Kilimanjaro' by Teardrop Explodes; you haven't listened to it for a long time. At the same moment, you notice that someone has filed your Kinks' 'Face to Face' in the wrong place... It goes with you to the record player too. A few minutes later, you confirm that both Cope and Davies made prevailing, lucid and brilliant records, and actually what on earth would they sound like if they collaborated at these times?? Although there are only fourteen years between those two records...it seems they were conceived in different centuries, or from different planets. How on earth might these disparate sounds be melded for future audiences and fans of pristine and quirky
pop music.... Would it work? We find the answer at the Electric Duck studios in San Francisco, Kelley Stoltz's base of operations. A Detroit-native, Kelley was an adolescent moved by post-
punk and English new-age, and became an adult falling in love with the extensive
pop legacy from the 60s. Both references define one of the strongest, most talented discographies of the last few years. Filtering and tying those sounds together with an eager freshness and distinction is what makes Kelley such a unique modern day
pop music composer. Stoltz gets affectation and histrionics out of the best 80s
pop and melds it with the outstanding melodies and sense of humour that prevailed in 60s
pop nuggets. To support a tour in 2004, Kelley recorded a total cover version of Echo & The Bunnymen's ''Crocodiles'' LP as a tribute to his favourite band..it s fitting that nowadays he can be found on stage alongside Mac and Sergeant as a Bunnyman!
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