| | Fredo Viola Concert Classics CD - Import Fredo Viola Discography of CDs
Fredo Viola Concert Classics Songs | 1. | Double Happy |
| 2. | Hard Act To Follow |
| 3. | Poor Boy |
| 4. | Missing Person |
| 5. | Hermin McDermitt |
| 6. | Ghost Girl |
| 7. | I Don t Wanna Dance |
| 8. | I Wouldn t Dream Of It |
| 9. | Nobody Takes Me Seriously |
| 10. | I Hope I Never |
| 11. | I Got You |
| 12. | What s The Matter With You |
| 13. | I See Red |
| 14. | You Can Lead A Horse To Water |
| 15. | Shark Attack |
| 16. | Twist And Shout |
| 17. | What A Mess |
| 18. | My Mistake |
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Concert Classics Review
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This is a Super Audio CD playable only on Super Audio CD players.
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A band with a considerable Scottish rock pedigree, the 1990s, in its former incarnation as the Yummy Fur, included future Franz Ferdinand members Alex Kapranos and Paul Thomson. Although the trio, led by wiry vocalist/guitarist Jackie McKeown, shares some similar post-punk sensibilities with the dapper FF, the 1990s are more rooted in a cheeky Stones/Kinks aesthetic, a point hit home by the witty, raucous "Cult Status." While the group excels at loose-limbed rockers (see the bouncy opener, "You Made Me Like It"), the 1990s also charm on slower, dreamier numbers, particularly on the breezily nostalgic tune "Arcade Precinct." Another fine addition to Glasgow's impressive pop/rock lineage, the 1990s will easily appeal to fans of other likeminded U.K. acts, most notably the Arctic Monkeys and Art Brut.
There are a few reference points for the 1990s debut album that you need to forget right away. It doesn't matter that Bernard Butler produced, or that two of the band's members were in a band with the drummer from Franz Ferdinand. It does matter that the band in question was Yummy Fur because if you were a fan of their off-kilter and jagged brand of post-punky pop, you'll like Cookies. Of course that covers a couple hundred people at best, so let's say if you're a fan of off-kilter, spunky and often laugh-out-loud hilarious post-punk influenced pop that ropes in the best elements of Art Brut, the Libertines, Comet Gain and the B-52's, then there's a good chance ...
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Personnel: Jackie Greene (vocals, various instruments, guitars, piano, organ, Mellotron, synthesizer, electric bass, drums, cajon drums); Larry Campbell (vocals, mandolin, violin); Nicki Bluhm, Tim Bluhm (vocals); Nathan Dale (baritone, guitars); Jeremy Plog (guitar, electric guitar, bass instrument, electric bass); David Hidalgo (guitar, accordion); Val McCallum (guitars); Greg Leisz (pedal steel guitar); George Brooks (tenor saxophone); Steve Berlin (baritone saxophone, piano, Clavinet, organ, synthesizer, vibraphone, percussion); Mic Gillette (trumpet, trombone); David Farragher, Phil Lesh (electric bass); Cougar Estrada (drums, percussion); Bruce Spencer, Pete Thomas (drums).
Aptly described by the New York Times as the "Prince of Americana" for the extraordinary breadth and variety of his talents in performing, arranging, and songwriting, Jackie Greene delivered another ace addition to his catalog with 2008's GIVING UP THE GHOST, his fifth full-length and 429 Records debut. Between the stomping "Follow You" and the hauntingly restrained "Prayer for Spanish Harlem," there appears to be very little Greene cannot do with a guitar and a few chords.
Some time before Jackie Greene released Giving Up the Ghost, he declared that he wanted a Top Ten hit. "I want a big song," he told an interviewer, adding "You're not a musician because you want to starve." There's no reason Greene shouldn't have that Top Ten, instead of wallowing in indie-land. His talents are manifold -- as a singer, songwriter, and multi-instrumentalist he's prodigiously gifted -- and he's even got the kind of heartthrob looks that serve to push units by artists with half of his abilities. But thus far that mainstream success has eluded him, and there's even been something of a backlash against him among the rockist cognoscenti, a rarity for an artist who has yet to truly break out. Giving Up the Ghost illustrates both why some are skeptical and why others can't seem to lavish enough praise on him. Giving Up the Ghost follows three albums for the small Dig label and one for the larger Verve Forecast, and like those others, it's got riches to spare. Greene's writing has become more complex, both emotionally and structurally, without becoming verbose. He's meticulous and broad in his scope, drawing from numerous streams without being derivative: he has been compared to many of the greats (yes, even Bob Dylan and Bruce Springsteen), but those comparisons are neither fair nor necessary -- Greene can stand on his own. Working here with co-producer Steve Berlin of Los Lobos, Greene elevates his new material into something super-sized -- not in a bloated, grandiose way, but rather as music that presents itself as important. And that is both its greatest attribute ...
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