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Brian Olive

Following his 2009 self-titled debut, which was praised for skillfully blending soulful R&B with raunchy garage and psychedelia, Brian Olive (Ex-Greenhornes guitarist & Soledad Brothers multi instrumentalist) takes us further on his latest full length Two Of Everything. Listeners will recognize a number of musical touchstones here (Night Tripper era Dr. John, Exuma, early Funkadelic, Canned Heat, West Coast psych, etc) but the end result is completely Olive’s own, an insanely dynamic, soulful, psychedelically-rich summer album perfect for intergalactic flight, night visions, or voodoo rituals. Two Of Everything was recorded and produced by both Olive and Dan Auerbach of The Black Keys at The Diamonds in Cincinnati, and Easy Eye Sound in Nashville and features a revolving cast of talent including long time right hand man Mike Weinel, Detroit psychedelic caveman David Shettler (SSM, the Sights), Daniel Allaire (Darker My Love), Jared McKinney (Greenhornes), and with Courtney Jaye, Leisa Han, Kari Kragness, and Sarah Benn on backing vocals. The hauntingly beautiful artwork is by Laura Dolan. Brian has also laid down sax parts for Dr. John’s album "Locked Down".

Brian Olive (as Oliver Henry) explored British Invasion and American garage rock as a member of the Cincinnati-based Greenhornes and Detroit-based Soledad Brothers, playing sax, flute, guitar, piano and organ, as well as singing and writing songs. On his solo debut he expands beyond the gritty hard-rock and reworked blues of Blind Faith and mid-period Stones to include healthy doses of psych, glam, and most surprisingly, soul and exotica. Influences of the New York Dolls, T. Rex and Meddle-era Pink Floyd are easy to spot, but they’re mixed with touches of Stax-style punch, South American rhythms, breezy jet-set vocals and jazz saxophones. It’s intoxicating to hear droning saxophones transform from big band to glammy psychedelia on “High Low,” and the acoustic guitar and drowsy vocals of “Echoing Light” bring to mind the continental air of Pink Floyd’s “St. Tropez.” – HYPERBOLIUM


Two of Everything is as complex as it is catchy. Adventurous arrangements employ gauzy synthesizers, flutes, punchy Muscle Shoals-style sax and, in one exemplary case on “Strange Attractor”, what sounds like bagpipes. Olive creates atmospheric layers of sound dappled in splashes of dreamy psych-pop sunshine that, on occasion, bring to mind the top-down grooves of ‘60s Chicago outfit the Buckinghams. Soulful glam-orized R&B stomp is still to be heard on songs such as opener “Left Side Rock” and “Back Sliding Soul”, it’s just tempered with a laid-back vibe that finds Olive mellowing down easy. – Alan Brown / POPMATTERS


Olive's second solo offering lends a pleasingly spacey, psychedelic edge to vintage sounds, with sympathetic production provided by the Black Keys' Dan Auerbach. You could argue retro soul and R&B are two of the decade's hegemonic sounds, but there's no vamping here. Rather, songs such as "Go On Easy" glide by in an opiated glaze, while "Strange Attracter" makes unexpectedly groovy use of the bagpipes. – Kitty Empire / THE OBSERVER


From the funky, hard-rocking groove of opener "Left Side Rock", to the hypnotic electric piano and flutes of "Go On Easy" to the Motown rhythm section and horns fronting Lennonesque vocals on "You Can't Hide It"... the common elements are an explosion of talent and an amazing facility with different styles, tempos and genres. Everything on this record - the rhythms, the guitars, the horn sections - is well done, and Olive's vocals are certainly up to the task of carrying such a big-sounding record. – WYMA


The dreamy, wailing voices are put up against fuzzy synthesizers, woodwinds and brass. Two of Everything should be played over the loud-speakers at pool parties, cookouts, and—here’s hoping—a summer celebratory crawfish boil. – Taryn Tegarden / A LINE


Brian Olive is an impressive and pleasing solo debut that shows his chops as a producer, arranger, and songwriter make him more than just some Midwest sideman. – ALL MUSIC


Helped out by ex-bandmates Jared McKinney and Craig Fox from the Greenhornes and with spectral backing supplied by Donna Jay Rubin and sisters Holly and Tori Kadish on the majority of songs, Olive drifts through an array of styles and imaginative arrangements during the album’s 33 minutes with “King of the Road” aplomb. There’s a gentle nod to both the Kinks and the Beatles in the marshmallow melody of “The Day is Coming (Sainte-Marie’s Dream)”; a gritty, down-in-the gutter piece of Detroit R&B called “Stealin’”; and a feral sax punch plus a cellar full of Beat-cool jazz on “High Low”. Meanwhile, the girls are most noticeable oozing through on the muddied country-blues raunch of opener “Ida Red” and the ghostly, fluttering psych swirl of “See Me Mariona”, a song reminiscent of contemporaries Pink Mountaintops. The highlight, however, has to be the tambourine-shakin’, sax-laden slice of glam-ourized R&B, “Jubilee Line”, which yields Olive’s most confident vocal outing and a kick-ass trip on the Tube through London to boot. - POPMATTERS

Brian Olive official site