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CD
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TCD 030CD
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Recorded for the BBC Radio 1 John Peel show 1994-1997 at Maida Vale Studios, London. Movietone were part of the Bristol scene in the 1990s that contained Flying Saucer Attack, Third Eye Foundation, and Crescent. Band members from all three of these bands played in Movietone, with Kate Wright being the main songwriter. Signed to Planet Records, Movietone did their first John Peel Session a few weeks after the release if their debut single "She Smiled Mandarine Like" in 1994. They went on to do three Peel Sessions in total between 1994-1997 and moved to Domino Records and Drag City in 1997. These sessions do not exist online and have never previously been heard by anyone other than those who listened to the original broadcasts. As Movietone are no longer making music (they have been superseded by 1000 Dawns), these archive recordings are even more special. They contain early or alternative versions of songs from Movietone's first three records: Movietone (Planet 1995/Geographic 2004), Day and Night (Domino/Drag City 1997), The Blossom Filled Streets (Domino/Drag City 2000), along with a song from their pre-Movietone days as Lynda's Strange Vacation. The last session is unique because Matt Elliott (Third Eye Foundation) is playing on them -- he had left the band by the time that the album was recorded and released three years later. Movietone on the John Peel Sessions are: Kate Wright (1000 Dawns/Crescent), Rachel Brook (Flying Saucer Attack), Matt Elliott (Third Eye Foundation/Flying Saucer Attack), Matt Jones (Crescent/1000 Dawns), Sam Jones (Balky Mule/Crescent/Flying Saucer Attack), Florence Lovegrove, Ros Walford. Lynda's Strange Vacation were: Matt Elliott, Kate Wright, and Rachel Coe.
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CD
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DC 141CD
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"The second album from Great Britain's Movietone. Formed by Flying Saucer Attack's Rachel Brook, in Bristol. The first half of 1997 was spent recording Day And Night, a shift from the aggressive sonic outbursts of their debut to a softer yet more intense acoustic based set. It's based on songs and the singing of Kate Wright in front. The sounds range from around from almost-there acoustic guitar and piano intro-versions to rather more percussive rhythmic workouts that find keyboards drifting in over beds of guitar play. 'Dreamy' is a word that come to mind. Woodwinds blow and strings sound, merely suggesting the orchestral without every fully entering that hallowed (and recently, much traversed) pantheon."
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