Fiyo On The Bayou The Neville Brothers

• 1 Hey Pocky Way 04:15
• 2 Sweet Honey Dripper 05:18
• 3 Fire On The Bayou 05:18
• 4 The Ten Commandments Of Love 03:47
• 5 Sitting In Limbo 04:12
• 6 Brother John / Iko Iko 05:36
• 7 Mona Lisa 03:46
• 8 Run Joe 03:35
• Total Runtime 35:47

Info zu Fiyo On The Bayou

Die Neville Brothers als Band entstanden als Ergebnis des hervorragenden Wild Tchoupitoulas-Projektes aus dem Jahr 1976. Auf diesem Album begleiteten die Nevilles als Background-Sänger eine Gruppe von Stammeshäuptlingen (darunter ihr Onkel "Big Chief Jolly"). Sie sangen dabei traditionelle Mardi Gras-"Kriegslieder" und Märsche. Mit ihrem 1978er Debütalbum verließen sie ihre New Orleans-Wurzeln, was sich als Fehler herausstellte. Das 1981er Fiyo On The Bayou jedoch markiert einen Höhepunkt in der Arbeit des Neville-Kollektivs. Hier präsentierten sie eine Mischung aus R&B, Soul, Funk und karibischen Rhythmen, eine Ehrerweisung an ihre Herkunft. Die Standards wurden natürlich von Aaron Neville und seiner göttlichen Stimme gesungen, aber es waren die New Orleans-Songs, die mithalfen, die Band und ihre Stadt zu definieren. --Marc Greilsamer -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

„Musik aus dem wilden Süden: Die Neville Brothers gehören seit Jahren zu den herausragenden Bands aus dem Mississippi-Delta, ohne den kommerziellen Durchbruch voll geschafft zu haben. Fiyo On the Bayou von '81 gilt unter HiFi-Kennern als Neville-Klassiker: Blues, Rock und Funk verschmelzen zum sündhaft schmackhaften Soufflé - nun erst recht.“ (Audio)

„In der klangtechnischen Überarbeitung dieses Klassikers der Neville Brothers aus dem Jahr 1981 leisteten die Techniker von Mobile Fidelity wieder einmal Vorzügliches. Im Vergleich mit der Standard-CD (A&M/Polydor 394 866-2) gefällt die Goldscheibe durch ein insgesamt ausgeglicheneres und druckvolleres Klangbild. Deutlich ausgewogenere Mittelfrequenzen, seidige Höhen, die sich besonders in der Wiedergabe der Bläsersätze offenbaren, sowie ein etwas tiefer herabreichender Baßbereich sprechen klar für die neue Überspielung. Hinzu kommt noch eine wesentlich verbesserte Reproduktion der Stimmen.“ (Stereoplay)

Art Neville, vocals, keyboards
Cyril Neville, vocals, keyboards, percussion
Charles Neville, saxophone, percussion, vocals
Aaron Neville, vocals, percussion
Charmaine Neville, vocals
Babi Floyd, vocals
Eltesa Weathersby, vocals
Herbert Rhoad, vocals
Cissy Houston, vocals
James Hayes, vocals
Jayotis Washington, vocals
Jerry Lawson, vocals
Joe Russell, vocals
The Persuasions, vocals
Quay Hozchen, vocals
Whitney Houston, vocals
Zachary Sanders, vocals
Carl Blouin, baritone saxophone
David Newman, saxophone
Jim Weber, trumpet
Jimmy Duggan, trombone
Joseph Fox III, trumpet
Mac Rebennack, percussion, keyboards
Wardell Quezergue, synthesizer, piano
Leo Nocentelli, bass
David Barard, bass
Herman V. Ernest III, drums
Ivan Neville, percussion
Ralph MacDonald, percussion
Kenneth Williams, percussion

Recorded at the Studio In The Country, Bogalusa, Louisiana
Engineered by Gene Paul
Produced by Joel Dorn

Digitally remastered

The Neville Brothers
Four powerfully unique personalities, the Neville Brothers thrive on an explosive fusion of diversity and unity. This collective of talented brothers is world-famous for its embodiment of the New Orleans sound.

Aaron, Art, Charles, and Cyril Neville have expanded the horizons of New Orleans R&B while honoring the music's roots and traditions. Drawing on the vast resources and multiple styles of African-American music, The Neville Brothers have combined R&B, jazz, reggae, and elements of rock and Zydeco with a harmony-based funk groove all their own.

No group in America can claim a more illustrious history than the Nevilles. The careers of Art and Aaron Neville began in the early 50's around the street corners, on the porches and at house parties in the notorious Calliope Projects. Energetic, but with little else to do, it was only natural for them to pick up the rhythms and moods of the city of which they were so much a part.

They played and sang the music of the streets. It was gut level and it was real. "We'd spend the whole night trying to sound like the Spaniels, the Clovers, and Sonny Til and the Orioles," said Aaron. "At dances when I was a little kid, Art would be up there singing while I'd be dancing with some girl a foot taller than me. I knew then I wanted to be a singer."

Art first came to note well before Elvis, having recorded "Mardi Gras Mambo" with The Hawkettes in 1954. "Mardi Gras Mambo" continues to get heavy airplay and respectable sales during the local Mardi Gras festivities. While Art was backing Little Richard in the studio and Larry Williams on stage, saxophonist Charles left New Orleans for Memphis, where he played with...well, everyone – Big Joe Turner, Johnny Ace, Wilson Pickett, Bobby "Blue" Bland, Willie Mae Thornton, Tee Vee Mama, B.B. King, you name them. And Aaron, who'd developed his heart-breaking falsetto after falling in love as a child with the yodeling of the singing cowboys of the silver screen, had a no. 2 smash with "Tell It Like It Is" the winter preceding the Summer of Love.

After Art, Cyril, and Aaron had played together as the Neville Sounds, Art (Who was joined later by Cyril) formed The Meters, who were acclaimed the world over as the grand masters of New Orleans' Caribbean-influenced "second line" funk style. While The Meters ruled New Orleans French Quarter, Cyril and Aaron played on Claiborne Avenue with the Soul Machine, and Charles found himself teaching at Goddard College in Vermont, a very long way from home.

Finally, after not having played together for 8 years, the brothers reunited to help record the universally acclaimed The Wild Tchoupitoulas a year after their mother's death in 1975. They credit their uncle, the flamboyant Mardi Gras Indian George (Chief Jolly) Landry, with getting them to join forces. "He told us that our mother and father had always wanted to see us work together as a band," Charles recalls. "He knew that if we got together as a family, it would happen."

It happened, all right, but slowly. None of their first few recordings as the Neville Brothers sold spectacularly, though no less than Keith Richards called "Fiyo On The Bayou" the best album of 1981. The brothers nonetheless became their hometown's best-loved local attraction. In 1988, they returned to A&M and won a Grammy with the sublime Daniel Lanois-produced "Yellow Moon." 1990's "Brother's Keeper" cemented their status as one of the most fervently acclaimed groups in American pop.

The Neville Brothers have sold millions of records worldwide and have gold and platinum records in 6 different countries. In the United States, they have been the featured performers on television from the early morning on "Good Morning America" and "Today" shows to midday on "Oprah" to late night on "Saturday Night Live," "Arsenio," "Austin City Limits," "Letterman" and the "Tonight Show." They were the stars of their own Cinemax/HBO special, which is now available for home video. They contributed the song, "Let That Hammer Fall" to the movie "Posse."

The Nevilles' music has been hailed by music writers in nearly every major periodical in the country and their live performances are legendary, moving one of America's most acclaimed young novelists, John Ed Bradley, to note in G.Q., "The Nevilles play Tipitina's, and a spooky magic happens. Fruit juice becomes a Hurricane cocktail, the fat of foot can suddenly hoof it, the blind, by God, can see."

Dieses Album enthält kein Booklet