After shopping demos around, the Grassy Knoll signed with Nettwerk and released their self-titled debut album in 1995, with production help from Jaime Lagueruela. Just six months after its release, the album was picked up by Polygram through the Antilles label, which released the group's second album as well, 1996's Positive. Having served three acclaimed albums to major labels (nettwerk/verve/antilles), Green has veered from the tried-and-true route to release his latest rock narrative, “Short Stories”, via a collective imprint of his own devising, sixtyonesixtyeight. Green, who sees the ever-evolving artist as the only true artist, has taken on multimedia performances as his next challenge. These audiovisual happenings feature him performing on bass alongside guest collaborators and his own specially created visual presentations.
The Grassy Knoll’s multimedia evenings juxtapose the Knoll’s exquisite brand of electro-rock action with audiovisual samples from pre-MTV rock, jazz and classical icons, not only seamlessly celebrating the relationship between 20th-century musicians but allowing these disparate artists to speak a common language. This isn’t just instrumental rock backed with a video screen; this is sampling taken to a new, comprehensively artful level. With Final Cut Pro his tool of choice, Green has given every sonic image a corresponding visual image, combed from a vast array of famous, infamous and rarely seen archive footage. Trained in photography, he also shoots his own footage of New York City street life and small towns in his native Texas, adding an individual POV.
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