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Athens, Georgia was fertile musical ground in the 1980s. Looking beyond the biggest names \u2013 R.E.M.<\/strong>, the B-52s<\/strong>, Pylon<\/strong> and (briefly) Matthew Sweet<\/strong> \u2013 one could discover a vibrant music scene. Some of it was chronicled in Tony Gayton<\/strong>‘s 1987 documentary, Athens, GA: Inside\/Out<\/i>. But even that film didn’t cover all the worthy music coming out of the college town.<\/p>\n It would be easy to lump Seven Simons in as also-rans; while they did release tow albums \u2013 1988’s Clockwork<\/i> and Four Twenty-Four<\/i> in 1991. But despite some solid indie cred \u2013 the first album was released on R.E.M. Manager Jefferson Holt<\/strong>‘s Dog Gone Records, and the second came out on then-hip indie label TVT \u2013 neither record made much of a dent in the musical marketplace.<\/p>\n They scored what in retrospect seems like some great opportunities: they toured, opening for hot acts like The Fixx<\/strong> and A Flock of Seagulls<\/strong>, and their booking was handled by Ian Copeland<\/strong>‘s F.B.I. But shifting lineups didn’t help Seven Simons’ musical momentum, either: core members Nathan Webb<\/strong> (vocals) and guitarist Keith Joyner<\/strong> were the only holdovers between the first and second record. As the story goes, when Four Twenty-Four<\/i> flopped, the band lost its following.<\/p>\n Joyner and Webb held on for awhile, but eventually the band folded. But prior to calling it a day, the group cut a dozen songs at Don McCollister<\/strong>‘s Nickel & Dime Studios in the Avondale Estates neighborhood of Atlanta. Those recordings languished unreleased for decades, and Seven Simons’ mainstays went their separate ways. Joyner landed a touring gig with The The<\/strong>, filling the spot recently vacated by Johnny Marr<\/strong>; Webb got married, started a family and left music altogether.<\/p>\n But those unreleased recordings beckoned. When Joyner and Webb reconnected around 2013, they found that their musical connection remained strong. Enlisting the aid of both of Seven Simons’ rhythm sections \u2013 the Clockwork<\/i> lineup of bassist William Mull<\/strong> and drummer Michael Zwecker<\/a><\/strong>, and the Four Twenty-Four<\/i> rhythm section of bassist John Gusty<\/strong> and drummer Travis McNabb<\/strong> \u2013 they cut three new songs. The three new tracks open Post<\/i>, the first new Seven Simons album in 25 years.<\/p>\n