| | Nobodys Short Songs For Short Attention Spans CD Nobodys Discography of CDs
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Producers: Joe Queer, Hugh O'Neill, JJ Nobody, Disease.
Personnel: Francis A. Superstar (vocals, guitar); Joe Queer (vocals, background vocals); Johnny J.J. Nobody (vocals); Hugh O'Neill, B-Face, Duke Crevanator, Jim Tierney (background vocals).
Recording information: Fishtraks (01/12/1996/01/??/1996).
Unknown Contributor Role: Nobodys .
Nobodys: Francis A. Superstar (vocals, guitar); Johnny "JJ" Nobody (vocals, bass; Disease (vocals, drums).
Additional personnel: Joe Queer (vocals); Hugh O'Neill, B-Face, Duke Crevanator, Chris Winehold, Jim Tierney, Pedro Keller (background vocals).
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Short Songs For Short Attention Spans Music | List Price | $13.97 (You save $2.12) | | Category | Rock/Pop Albums, Rock CDs, Alternative, Punk | | Label | Hopeless | | Orig Year | 1996 | | All Time Sales Rank |  174711  | | CD Universe Part number | 1133032 | | Catalog number | 611 | | Discs | 1 | | Release Date | May 21, 1996 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Jim Tierney | | Personnel | Johnny "JJ" Nobody - vocals
Francis A. Superstar - vocals, guitar
Also: Joe Queer, Hugh O'Neill, Bface, Chris Winehold, Duke Crevanator, Jim Tierney, Pedro Keller |
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A strange album, this one -- or maybe not so strange in light of the future, but still odd. Whatever bandleader Phil Owen was on at the time, it helped in creating an album that in its own way almost ...
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Funkstörung's neat disappearing act near the end of the millennium, after a few years of praise from all quarters, gave their reappearance in 2004 a large element of surprise. Even if the duo hadn't changed with the times, however, it wouldn't have been a problem; their sound was years ahead of its time in 1996, and could have been transported eight years into the future with no difficulty. Disconnected has only occasional glimpses of the classic Funkstörung sound, the balance of which consists of confessional songwriting ...
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Having made an initial splash on her first two albums with sprightly dancefloor pop, as well as an initial attempt to look to English-language audiences, on Amour Toujours Lio often took a calmer road that harked back to earlier styles of French music, a move slightly paralleled in the classy cover photo courtesy of the legendary Robert Doisneau. Still, Amour Toujours is hardly simply a re-creation of the past -- producer Alain Chamfort had an ear for then state-of-the-art radio-friendly sounds, as the full thwack of the drums on "La Reine des Pommes" makes clear from the start. But for all the immediate airwave appeal, it's quite striking both how Lio sounds a little smoother and more confident on many tracks and how various orchestral and other instruments interweave with the straight-up rock sounds throughout. The sudden brass break toward the end of "La Vérité Toute Nue," the concluding strings on the moody highlight "J'Aime un Fantôme," and the piano on "Je Voudrais Bien Me Sentir Mal" all highlight this tendency well, and Lio's performances are appropriately top-notch. At points Chamfort creates a full-on retro background -- there's nothing but strings and brass on the near waltz-time "Grenade," while the piano-led, easily swinging "Plus Je T'Embrasse" ...
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1969's BECK-OLA would prove to be the last Jeff Beck album featuring the vocal talents of Rod Stewart and future Rolling Stones guitarist Ron Wood (although Wood plays bass here). An all-time '60s heavy rock classic, BECK-OLA proves that this Beck lineup could have ruled the hard-rock roost had it remained together just a bit longer (the group split up right before a scheduled appearance at the Woodstock festival). Still, you can't go wrong with a pair of turbo-charged, radically reworked Elvis Presley covers ("All Shook Up" and "Jailhouse Rock") or the Led Zeppelin-worthy stomp of "Spanish Boots."
When it was originally released in June 1969, Beck-Ola, the Jeff Beck Group's second album, featured a famous sleeve note on its back cover: "Today, with all the hard competition in the music business, it's almost impossible to come up with anything totally original. So we haven't. However, this disc was made with the accent on heavy music. So sit back and listen and try and decide if you can find a small place in your heads for it." Beck was reacting to the success of peers and competitors like Cream and Led Zeppelin here, bands that had been all over the charts with a hard rock sound soon to be dubbed heavy metal, and indeed, his sound employs much the same brand of "heavy music" as theirs, with deliberate rhythms anchoring the beat, over which the guitar solos fiercely and the lead singer emotes. But he was also preparing listeners for the weakness of the material on an album that sounds somewhat thrown ...
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