WHITE VINYL.
the cinema of the scenes as told from the heart and spirit of the omniscient narrator shines through the awe-inspiring oeuvre of glenn donaldson's canonical titan that is the reds, pinks & purples. the storied and esoteric histories of every underserved underdog becomes immortalized in records and poignantly penned paeans that evoke the eras and underachievers that became synonymous with their own respective corresponding localized micro-movements. donaldson channels that psychic spirit and journeyman earned wisdom to provide contemporary era rock operas that eulogize tales of infinitely influential rises and falls. crystalizing the tragic self-celebrating kingdoms of fortunate failures, false heroes, music press deities of limitless deceit, hometown dive gods and humanity in the grips of all its romanticized wonder and woe — the latest sortie of the sensational and spectacular takes aim at the threads of hope and an untethered abandon into the intimacy and dualities of idolatry and isolation with unwishing well.
ever since its emergence from the harried late 2010s — the reds, pinks & purples have become the absolute encapsulation of donaldson's own proliferation and prestige. from a musical legacy that chronicles a long list of minor successes and major tragedies; glenn distills the timelines of distinction from yesterday, today, tomorrow and whatever may be into a musical phenomenon that embodies something more than all of its analogous inspirations. beyond the clamor about the retro cult pop artistic allusions and tropes that can be found in those spirit expanding kaleidoscope chord chimes; donaldson takes you on a guided tour through the san francisco underground movements that would have been, could have been or perhaps never were at all from the start. the reds, pinks & purples’ coveted catalog inadvertently, consciously or unconsciously, offers an authorized and anonymous history of imperfect and ambitious debutantes, dilettantes, auteurs, et al. the lauded visionaries whose volition informed the big money touring stage headliners, but only enjoyed a fleeting jaunt through the glorious corporate clad carnival canopies from the touring circuit routes and tech funded festival tent tabernacles. unwishing well is a eulogy for the buzz bands that crashed, the wily one hit wizards, and omnipresent (and often uninspired) eternal aesthetes who work the lucrative outlets of licensing media markets.
