The Broadcast of Disease

by idaho

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Andrew Stuart
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Andrew Stuart I love it because it's early Idaho that mysterious band I was blessed to discover/ stumble upon in the 90's, log car journeys to the coast were never the same "... the 101 forever " Favorite track: The Living End.
Bryan Santizo
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Bryan Santizo Incredibly insightful look into the early years of what would become Idaho. For superfans of the first two albums, this will be a real treat. My absolute favorite has to be the last minute curve ball though (see "Paralyzed"). Favorite track: Paralyzed.
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  • Compact Disc (CD) + Digital Album

    Idaho's leading man Jeff Martin recorded these songs withl Idaho co-founder John Berry and high school friend Doug Smith in the 80's. This album reveals a broad cross section of works created between '83 and '89 that reveal, for all intents and purposes, Idaho in it's inchoate stages.

    The CD contains liner notes by John Berry

    Includes unlimited streaming of The Broadcast of Disease via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 3 days
    edition of 300 

      $17 USD or more 

     

  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

      $12 USD

     

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01:03
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04:17
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04:38
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03:16
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02:50
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03:33
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05:03
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06:29
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04:16
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03:44
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03:33
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04:50
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03:59

credits

released November 10, 2015

Jack Rabid’s top 40 review from The Big Takeover: Idaho “The Broadcast of Disease”


This is a side of this longtime L.A. band fans have never heard. Not only does Broadcast present unreleased recordings predating their 1993 first LP, Year After Year, but they predate it by a lot—from 1984-1989. Seems creative force Jeff Martin met his initial (and since) foil, John Berry (as I never tire of mentioning, son of still-living, affable F Troop star, Ken Berry) and on and off drummer Doug Smith as teens in 1981. Unusual for then, the chums recorded constantly, of which 19 tracks appear here. Some, such as 1987’s “Until I go” and 1989’s “Lumberjack” do presage the style of classics such as 1996’s Three Sheets to the Wind and 1998’s Alas, with their calmly dissonant bass and frozen guitar sound-sheets. But the 1984-1986 selections reveal a harsher, discordant, classic “diseased” Brit post-punk flavor, such as 1984’s opening “The Living End’—with atypical avant-garde jazz saxes, even, like Blurt. Très fascinant! The highly different gestation of this remarkable band is noteworthy—and transfixing, too.

(idahomusic.com)

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