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Smashing Orange - 1991 mp3 album

Smashing Orange - 1991 mp3 album
Performer: Smashing Orange
Title: 1991
Released: 2005
Style: Garage Rock, Shoegaze
Genre: Rock
Rating: 4.1
Votes: 470
MP3 size: 1703 mb
FLAC size: 1836 mb

Smashing Orange was an American band formed in 1990. They released three albums before splitting up in the mid-1990s. Their early sound saw them classified as shoegazing. The band was formed by siblings Rob and Sara Montejo, with Rick Hodgson, Steve Wagner, and Tim Supplee, all of whom worked together in a local record store, and had left or dropped out of college prior to forming the band

Smashing Orange ~ My Deranged Heart.

Smashing Orange ‎– 1991. Label: Elephant Stone Records ‎– ES1012. Format: CD, Compilation. 12-song retrospective of tracks released in 1991 on Native Records label in the .

1991) Love Spirals Downwards - Ever (1996) The Low Frequency in Stereo - The Low Frequency in Stereo (2002) Luminous Orange - lastic Lush - Split (1994) Magenta Skycode - IIII (2006) Mahogany - Connectiviy! (2006) Mazzy Star - So Tonight That I Might See (1993) Medicine - The Buried Life (1993) Meow Meow - Snow Gas Bones (2004) Mercury Rev - Boces (1993) Mojave 3 - Ask Me Tomorrow (1996) Moose - Cool Breeze (1991) My Bloody Valentine - Isn't Anything (1988) Neil Halstead - Sleeping On Roads (2002) The Nightblooms - 24 Days at Catastrophe Cafe (1993) Pale Saints - Slow.


1 My Deranged Heart 5:23
2 Strange Young Girls 3:31
3 Only Complete In You 2:53
4 Sidewinder 5:07
5 Just Before I Come (Believe Me) 3:06
6 Felt Like Nothing 3:05
7 Any Further, It's All Over 5:02
8 Sugar 3:22
9 Cherry Rider 4:31
10 Whenever 4:18
11 Not Very Much To See 4:00
12 Collide 2:20


  • Bass – Stephen Wagner
  • Drums – Tim Supplee
  • Engineer, Recorded By – Stephen Pala
  • Guitar – Rick Hodgson
  • Music By – Rob Montejo (tracks: 8 to 12), Stephen Wagner (tracks: 8 to 12)
  • Producer – Smashing Orange, Stephen Pala
  • Songwriter – Rob Montejo
  • Vocals – Sara Montejo
  • Vocals, Guitar – Rob Montejo


© 1991

12-song retrospective of tracks released in 1991 on Native Records label in the U.K.

Barcode and Other Identifiers

  • Barcode: 880481101225
Weathering far too many storms in a far too short a time has led Smashing Orange (with a band name referencing The Smashing Pumpkins, as pumpkins are orange) to be radically overlooked, though that may not be the fault of the public, but of the band, who laid out far too many musical styles to attribute them to a single genre, and led to their albums sounding disjointed … even if their live events sounded far better. Though with that in mind, Smashing Orange has never really left the playing field, they just keep coming back in different uniforms, under different banners, and with differing lineups. Formed by brother Rob and sister Sara Montejo, Smashing Orange was poised to to go somewhere, especially when they opened for Lush, though with comparisons being made to Galaxie 500, Ride, My Bloody Valentine and others, it’s easy to see that the group was touching too many bases at the same time, giving fans little space to hang their hats on, as Smashing Orange seemed forever to be in the midst of a musical flux. Even given a nod by John Peel (though he seemed to be nodding to everyone at this point in time) could not solidify their base, or put them on a memorable path.Smashing Orange became Love American Style (formed by Rob Montejo), and he’s currently flying under the banner of The Sky Drops with Monika Bullette. Yet in all of that change, the band has not changed or modified their presentation, one that is still rather musically scattered, laying out what I think would be the new genre of shoegazer grunge … with an admittedly narrow following. Essentially you could, and should, gather all of the material from these groups and comb through it for the style that suites your shoes the best, where personally, I prefer their more enticingly smooth and haunting ethereal material that rode on the coattails of Galaxie 500. Most perplexing is that Smashing Orange or any of its offshoots have forever been compared to other great bands of the day, while some fan critics point to groups such as Black Rebel Motorcycle Club, Ambulance Ltd, and even Jason Pierce (late of Spacemen 3), as Smashing Orange being the genesis of their sound, though methinks not, and that this notion is simply an attempt to shine a bit of light on a band who went unrecognized. Which oddly enough sparks the notion put forth by Frank Zappa who said that the world would not end by war, fire or ice, but rather by an inherent need for re-bathing in the waters of nostalgia, (don’t quote me on that, the memory of the statement has just been rattling around in my head for years) and simply trying to reinvent The Velvet Underground’s “White Light White Heat,” in the end, is not going to count for very much, unless a band is very good, very inspired, and blessed with an innate ability … something Smashing Orange was not.Please, understand that “White Light White Heat” will never go out of fashion, yet the music of Smashing Orange was out of fashion before it was committed to vinyl, a second tier band of shoegazers who were committed to a formula which they thought could circumvent actual creative annunciations, because simply knowing some sonic tricks is not going to ride anyone into the pages of history. Yes, Smashing Orange and their splinter groups had some compelling moments, but it’s their lack of originality that has left them by the roadside. That aside, the band was or sounded forever to be laced in conflict, whether it was the pop song approach, their experimental fractured bliss, or their noise factor, Smashing Orange, more aptly Rob Montejo, could not find a comfortable place to sit, thus their audience could not find a comfortable place to stand, leaving us with essentially nothing of value, as fence sitting is just a balancing act. And if you need proof of that, then look no further than the band’s monicker, which I explained at the beginning of this review.In several interviews Rob claims that his intentions were misguided, that he wanted to create a band with a big sound, one heavy on musical and vocal harmonies … and if that’s the case, then the man should surely find someone with a less awkward delivery, though (laughing) with Rob claiming that Syd Barrett was the originator of shoegazer, and then said to a question on why Smashing Orange spilt, saying, “The band had run its creative course and the desire to be something special was forever dead. I finally realized that I could not shoulder the elephant of complacency and more forward … I needed to grow.” At that point I wanted to grab at the air and say, “But you didn’t grow, you didn’t change, you’re still a guy with a girl drummer who can sing better than you, the compliance was all on you, and I’ve no idea why you thought you needed an elephant on your shoulder, or what you fed it.”But I just nodded and jotted down notes.Review by Jenell Kesler
Nice review. You've just convinced me to buy it. Thanks!
Your conclusion about this band is no different than any other reviewer or music writer now or of the times. I saw Smashing Orange several times in the early 90's and they were a great band. What you fail to mention is that few US bands sounded remotely like this at the time. While that fact does not make their music as historical as VU, but most bands will fall into a similar category. What the discernible listener might conclude is that Smashing Orange was doing this in 1991 when most bands were obsessed with Nirvana. Today, we see more bands mining the sounds of dreampop in the indie world then any Nirvana clones. And as for them not "finding a comfortable place to sit", were they supposed to make the same records over and over?
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