|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
PLEXUS 003G-LP
|
$40.00
PREORDER
RELEASE DATE: 8/21/2026
Gold vinyl. Deluxe reissue of the sole album by The Eighteenth Day Of May. Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola). This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake. Andy Childs who signed the band originally takes up the story. "I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited -- old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like 'Lady Margaret' and 'Flowers In The Forest' and not be afraid to stamp their own identity on them. Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
PLEXUS 003CD
|
Deluxe reissue of the sole album by The Eighteenth Day Of May. Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola). This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake. Andy Childs who signed the band originally takes up the story. "I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited -- old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like 'Lady Margaret' and 'Flowers In The Forest' and not be afraid to stamp their own identity on them. Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PLEXUS 003LP
|
Double LP version. Deluxe reissue of the sole album by The Eighteenth Day Of May. Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola). This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake. Andy Childs who signed the band originally takes up the story. "I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited -- old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like 'Lady Margaret' and 'Flowers In The Forest' and not be afraid to stamp their own identity on them. Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FTR 515LP
|
The Eighteenth Day of May were a six-piece, London based group. Originally formed as an acoustic trio consisting of American Alison Brice (vocals, flute), Swede Richard Olson (acoustic guitar, harmonica, sitar), and Ben Phillipson (guitar, mandolin), they combined elements of traditional and contemporary folk with a psychedelic jangle. They spent the summer and autumn of 2003 bonding over Fairport Convention, The Incredible String Band, Steeleye Span, Sandy Denny, and Trees all blending in with the psychedelic music they already loved which was feeding into their home demo recordings. In early 2004 they went electric adding the rhythm section of Mark Nicholas (bass), and Karl Sabino (drums, autoharp) and then lastly ex-Saloon player Alison Cotton (viola). It was after appearing on a cover mount disc for the much missed It Comes With A Smile Magazine that Andy Childs (Head of Hannibal Records/RYKO) fell in love with the band and continued the path of fellow legendary Hannibal head Joe Boyd's policy of signing eclectic artists. Back in 2004 it felt like no one was making music like this -- old weird folk songs, Americana, original psych folk, minimalist drones via great melodies, and eclectic instrumentation. The result was a joyous, unfettered, fluid sound that in one moment could conjure up flashes of The Byrds or Fotheringay and then minutes later the spirit of The Velvet Underground would drift though the music. Live they would even cover artist from Spacemen 3 and The Brian Jonestown Massacre to Buffy Saint Marie to traditional folk songs and would not be afraid to stamp their own identity on them. When it comes to recording their first (and only) LP, they were teaming with ideas and enthusiasm, buoyant from the attention of artists like Robyn Hitchcock and Peter Buck with whom they toured. The LP some 15 years later has not dated one bit, as with all good music its qualities and resonance have matured and endured, its subtleties have become more apparent and beguiling. maybe 2005 just wasn't ready for a band playing contemporary English folk music. Added onto to this retrospective release are several excellent extra tracks, some of which were recorded for a second album that they were never able to complete. Hard to imagine it would have been even better than the first but listen to the tracks recorded and you can only feel sadness that it never happened.
|