Fratellis - Costello Music
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CD Details
Artist: FratellisBrand: Baker & Taylor
Edition: Music CD
CD Release Date: 2007-03-13
Model: 00602517246751
Music Label: Cherry Tree
Soundtracks:
- Henrietta
- Flathead
- Whistle For The Choir
- Chelsea Dagger
- Gutterati?, The
- For The Girl
- Doginabag
- Creepin Up The Backstairs
- Vince The Lovable Stoner
- Everybody Knows You Cried Last Night
- Baby Fratelli
- Got Ma Nuts From A Hippy
Music reviews of Costello Music
Music Review: A Breath of fresh air, 4 enthusiastic stars
Rating: 4 Stars
I first heard The Fratellis on MTV when they were playing the video clip for their single "Flathead". There sound drew me and made me want to listen to the full length album, COSTELLO MUSIC.
"Henrietta" starts off the album with a bouncy, lively feel. The guitars are "nasty" and dirty sounding and The Fratellis let it all hang out on the opening track of COSTELLO MUSIC. The hook is incredibly catchy and makes you want to keep pushing the repeat the back button to hear "Henrietta" again and again. The energy just might be where the true lovability factor for The Fratellis comes from. They definitely have a distinctive sound, not unlike the pheonomenal Arctic Monkeys in that regard. "Flathead", the single that is recieving airplay over here in the U.S. is exceptional. The lyrics are genuinely top-notch, the music is energetic and in the case of "Flathead" itself, it is unpredictable. The switch of meters during the chorus is genius, something that only the most adventurous of bands are willing to dare to even put off. Again, it is unique compared to what U.S. bands are doing. "Flathead" doesn't even resemble the same park as Daughtry's "It's Not Over" or FOB's "Ths Ain't A Scene, It's An Arms Race"; it's a whole different style, whole different sound, and a whole different league.
"Whistle for the Choir" slows and quiets things down a little. The chord progression is very nice and the lyrics shine over the subtle acoustic guitar work from the onset. the track picks up, and while it is more dynamic than the intro, it isn't nearly as bombastic or testerone-filled as "Henrietta" or "Flathead". The change is much appreciated, and "Whistle for the Choir" proves to be as strong as either "Henrietta" or "Flathead". "Chelsea's Dagger" resurrects the testosterone filled sound that the group achieved on the first tracks, which is a welcome return and well planned. The lead vocalist as always sounds strong and his voice ascends to the top of the production very well, a problem often encountered when the guitars are overproduced (everything blends well here!). "The Gutterati?" speeds the tempo up even more and the vocals grow quite indecipherable. But like the punk music in America that grows to extreme tempos, it is the "effect" of the song that matters more at that point as opposed to the lyrics. The harmonica solo is definitely unique; show me a harmonica solo in an American rock band that isn't classified as southern or blues-rock...exactly. "The Gutterati" is definitely LOUD.
"For The Girl" doesn't slacken on energy a bit. The hook is definitely killer, which is a strong point of The Fratellis, as all of their songs show. "Doginabag" slows thigs down, aiming for a bluesier number. The guitars sound straight out of the 1960s, most certainly the sound that The Fratellis are trying to achieve. "Creepin' Up The Back Stairs" features infectious claps to begin the song and breaks into full-fledge indie-rock infection. Again, not unlike "The Gutterati", the words sometimes mush together, giving off a mix between the fast-swing jazz performance, rap, and punk. It doesn't quite achieve the same plane as the best, but it is (as the whole album is), above average.
"Vince The Loveable Stoner" certainly wins prize for one of the most uniquely named tracks. Again, the Fratellis slow things down to a more moderate tempo after the "blazing" "Creepin' Up The Back Stairs". Not the best of the best, but again, wouldn't you be drawn to listen to a song about a "loveable stoner"? I would. "Everyone Knows You Cried Last Night" is another track worth a listen merely by its title. The blunt nature of the Fratellis just maybe another one of their draws and maybe why the could possibly become the U.S. new imported indie darlings. "Everyone Knows You Cried Last Night" turns out to have a blues quality reminiscent of the 1960s. The lyrics continue to be potent here, quite like their contemporaries, The Arctic Monkeys. The "spunky" nature of the group adds to the package.
"Baby Fratelli" proves to be the "big number" with an anthemic chorus that would make any classic rock & roll star or listener proud. The changes of style utilized here are great as well and the guitar riff during the verse is genius. "Baby Fratelli" turns out to be one of the best of the album, up there with "Henrietta", "Flathead", "Whistle", among others. "Got Ma Nuts From A Hippy" is certainly pretty blunt, again a draw to the Fratellis. Despite being good, the track is a bit of let down, though not by much. an "Untitled" track ends the very distinguished album.
Overall, The Fratellis have it going on. Occasionally, the band teeters on the cusps of total absurdity with their dynamics (rock can really be never too loud), but otherwise, the material is first rate. 4 stars.
Description of Costello Music
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.There's nothing terribly complicated about the Fratellis' debut album, Costello Music, but that's by no means a criticism. Rather than inject their songs with complex chords, or steep their lyrics with their political and social agendas, this Glasgow trio have instead focussed on writing 13 songs that are pure, unabashed entertainment. And it's a pace--and an attitude--that doesn't let up, from the jumpy opening bars of "Henrietta" to the groupie-reminiscing of "Ole Black'n'Blue Eyes". In many ways, Costello Music sounds like a return to the hedonistic rush of early 1990s Britpop, with its exhilarating guitar riffs and arrogant swagger--"Chelsea Dagger" somehow applies the attitude of early Oasis to the pop catchiness of Great Escape-era Blur. But the Fratellis also know their history: the ska-punk of "Cuntry Boys & City Girls" and "For the Girl" has the Fratellis sounding like the cheeky offspring of the Clash, or a less-irritating Madness. But all this analysis kind of misses the point of Costello Music: this is music for dancing, not for contemplation. It's loud, fast and in-your-face, exactly what you'd expect from three young men with guitars. --Ted Kord
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