About

Altogether now (Birds Bees Flowers Trees) is the U.S. debut release from the UK's Patrick & Eugene. The Album was produced by band member Patrick Dawes. It's being released by the Tummy Touch Music Group, distributed by ADA/WEA

The Patrick & Eugene sound is whistles, bells and bongos combined with banjos, ukuleles and sunshine pop vocals to produce a unique but accessible music for post modern vaudeville, with a nod to Monty Python, Derek & Clive and even Woody Allen. Try to imagine Noel Coward on stage with the Duke Ellington Band at the Monterey Pop Festival and you're getting close.

The album's title track is currently featured on a year long Payless TV campaign, and has been heard over the end credits of ABC's Weeds and Gres Anatomy. The opening song "The Birds & The Bees" got enormous exposure via a very successful VW Rabbit TV advertising campaign a couple of years back and the YouTube comedy hit "To Do List". Patrick & Eugene's songs have also appeared in the Coen brothers' Burn After Reading and the Mr Bean trailer.

Patrick Dawes (who found fame playing percussion for Groove Armada and Richie Havens) & Eugene Bezodis (who is infamous for setting fire to Patrick when one of his on stage magic tricks went horribly wrong) are two talented originals. Combining stellar musical ability, devil-may-care delivery and an innate desire to entertain, the duo's recordings and live performances are delivered with a passionate amateurism that belies their virtuosic talents.

Highlights from the bands previous releases Postcard From Summerisle, and Everything And Everyone include impious but infectious versions of Beyonce's "Crazy In Love", Simon & Garfunkel's "59th Street Bridge Song" and The Arctic Monkey's "Bet You Look Good On The Dance Floor." Their imaginative reworking of Kylie Minogue's "Can't Get You Out Of My Head" is included on Altogether Now (Birds Bees Flowers Trees).

Their last album was picked by Paul Heaton (the beautiful South & The Housemartins) as his choice for the months 'Buried Treasure' feature in Mojo magazine. He described it as the "wild and comic sound of inner-child music and movement" and admitted that this was The Beautiful South's favorite album to take the stage to!