Album Tracks - Real Audio
*Ballad Of Betty Cole from 'Two Thousand Demolition Songs'
*Evil 1 from 'Two Thousand Demolition Songs'
*I Was At A Party from 'Darkan'
*Mind from 'Tallulah O'Shay'
*Cold Night Air from 'Boganvillea'

'Two Thousand Demolition Songs' Release Information
Richard Easton demonstrated his mastery of space and subtlety on his last album ‘Darkan’, a collection of understated acoustic treasures. His latest offering, ‘Two Thousand Demolition Songs’ travels the similar road but manages to take the listener to a new destination, this time with a stellar band as his backing. Recorded by J. Walker (Machine Translations) and Karl Smith (Sodastream) to produce Richard’s most self assured and ambitious album yet.

Richard’s amazing voice is gently accompanied by a host of musicians that highlight his strengths - songwriting and mood. This album brings the skeleton of ‘Darkan’ to life with greater emphasis on studio freedom that produces a pattern of melancholy and quiet desperation. The opening track ‘P.Tree’ introduces Richard’s soothing vocals and brooding tone. Described by Easton as “possibly a song about agoraphobic tendencies; and a boy saved from fear by a warm band and a soaring angel in the form of an unrestrained guitar solo,” it introduces key themes here. While obvious reference points for the record would be the breathy understatement of Iron and Wine or the enigmatic Smog, a darker poetic undercurrent often drives these songs.

‘Evil 1’ is a nightmare wrought into the sweetest of pop melodies. “At night I’m on the run/Pursued by evil one/He’s the man and comin’ at me in flames/Taking to the streetlight/ Looking like a quiet riot/Looking like a man who knows my name”. The ‘Ballad Of Betty Cole’ is the femme fatale all the boys want to touch. ‘Doug’ is part present-day romanticism, part nineteenth century poem, complete with thunderstorm in the background. ‘The Underground Sea’ could be the perfect metaphor to describe Richard Easton – under the surface there’s a breathtaking talent to explore.

Richard's 'Two Thousand Demolition Songs' Recording Notes
“This project was destined originally to be a double album of loud versus soft, band versus solo, ‘From Darkan to Narrogin and Jupiter’ (2003) and Two Thousand Demolition Songs (2004) are very much related. Whereas Darkan was a project stripped to the live bones of guitar and vocals, 'T.T.D.S.' was about bringing a skeleton to life, with greater emphasis on studio freedom. Both albums trace a period from 2000 to 2003 with Two Thousand Demolition Songs representing the sounds that lulled me out of the inner world of Darkan. ‘Former Me’ was completely re-written the night before recording, which meant the album had a real connection to my current frame of mind. Doing that helped shape the rest of the album, giving it a life beyond what I had planned. ‘Evil 2’ was discovered that same night, a four-tracked reprise of the ‘Evil 1’ melody. ‘The Ballad of Betty Cole’ is a riff inspired by the way a friend of mine dances, and is for me the best example of the band coming in on the sound. I was lucky to have some of my favourite musicians playing on this album, Marty Brown, Pete Cohen and Phil Romeril. J.Walker and I toiled over the sounds of Betty Cole, fiendishly attempting to coax people into the world I see when I sing. (Much like the Darkan sessions, a certain thunderstorm was also greatly appreciated; as can be heard on Doug.) The dumping of all sessions down to 8 track analogue prior to mastering was an exciting, time consuming but ultimately rewarding exercise. Two Thousand Demolition Songs was steered by two songwriters and producers I respect very much. Karl Smith (Sodastream) and J.Walker (Machine Translations) and their respective sessions were a year apart but were ultimately connected by a mutual regard for good microphones, honest production, cigarettes and peanut M&M’s. J.Walker’s mixing is a wonderful thing, as is the mastering of Cal Orr.”

Richard’s 'Darkan' Recording Notes
‘The album was recorded last year in Brunswick VIC by Karl Smith from Sodastream. ‘from darkan to narrogin and jupiter’ is the full title but ‘darkan’ will do just fine. Darkan and Narrogin are two country towns in WA an hour apart, and Jupiter’s a little further away. The full title comes from a set list I named, playing in Perth with The Luckies.

The album is inspired by my early bedroom recordings and I kind of assumed a character/alter ego when I performed. Karl and I focussed on capturing a mood, so the album was recorded live (guitar & vocals) over long sessions. Waiting for ‘the zone’ to kick in and then choosing the takes that came from the unadulterated ‘forgot it was recording’ place. I took some cues from Pink Moon and Nebraska and the old blues style of recording as it really suited this project.

Lyrics were more often than not made up at the time hence a few references to storms. A massive thunderstorm hit during the first take; the living room flooded and we had to shift/save the equipment.’

'Tallulah O'Shay' Biography
You may have never heard of Richard Easton. Likewise Tallulah O’Shay. Richard is in love with Tallulah. She is his fictional girlfriend. We love Richard and this record. If you enjoy a sense of discovery, adventure and yearn for innocence lost, then you know there is something of real beauty here.

‘Tallulah O’Shay’ showcases Richard’s amazing voice, filled with stories of heartache, isolation and joy. The package and the music is raw and passionate from a man that is as gentle as they come. Richard’s upbringing in Perth is well documented here with at least three tracks trying to come with grips of the wider world. The middle of the record is deliberately rough and ready. From then on it’s smooth sailing.

‘Well Maybe Somebody’ takes the duet form to an amazing new level. Just hearing this song, you know Richard has something going on. It’s why people at his shows walk away searching and gasping for new superlatives. Other signposts of fine moments include ‘Mind’, ‘Start Attack’ and ‘Countryside.’ Forget big budgets, big names and big hype and let the music of Richard Easton stand up and be counted.

Thoughts Of An Insider by Mark Monnone (The Lucksmiths)
About a year ago, Richard Easton moved to Melbourne from Perth. I’ve never been to Perth, but I’ve always imagined it to be place that’s very spacious. For some reason whenever I think of Perth, I always picture late afternoon – kids playing cricket in a wide open street with the soft sun a’settin’ in the background. Uncomplicated and unsullied. No additives.

Naive as this preconceived impression might be, this is precisely how I feel when I hear Tallulah O’Shay on my stereo. The simple beauty of Richard’s voice. The uncluttered arrangements of his band The Rhumba Decoy. The occasional smattering of some gentle strings. There’s always so much space. Even when things get rockin’, the melody always fights back. Sure, there are plenty of times where I’ve got no idea what the hell he’s singing about, but who am I to question a thing of such fine beauty?

Still, there are some lyrics on this album that will crack you up. Hilarious. But always honest. Some people might say that I’ve missed the point, that I’ve been duped by Richard Easton’s masterful taking of the piss. But I’d argue that there’s no chance – for Richard just wants you to believe in innocence for once. Think of those kids hitting that tennis ball in the street.

Anyway, me talking about this album just isn’t going to do it justice. Hey, I ain’t no music “journalist” okay! But let me say this – If you like music that’s more heart than art, with a guy singing who isn’t afraid of his own voice, then you may well dig this album as much as I do.

'Tallulah O'Shay' Recording Credits
Tallulah O'Shay was recorded and mixed by Laurie Sinagra at Mosqueeta's Tweeta in Perth, May 1999.

It was created with The Rhumba Decoy who are Pugsley B.Wateringcan on piano, bass and organ, William the Child on drums and slide guitar, and Pete Cohen on double bass and bass.

The heart-stretching female voice comes from Lee O'Shaughnessy, the strings from Viv and Bernard Langham, and the trumpet from Jason Brown. Pete and Pugsley arranged the strings.

Richard hails from Perth, WA and currently resides in Melbourne.