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Just Like The Fambly Cat
 
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Just Like The Fambly Cat

2 Jun 2008 | Format: MP3

7.99 (VAT included if applicable)
Buy the CD album for 17.36 and get the MP3 version for FREE. Does not apply to gift orders.
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2:19
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3:41
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5:30
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1:08
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6:06
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4:53
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3:22
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6:06
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6:32
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3:41
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3:43
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3:32
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6:34
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2:15


Product details

  • Label: UMC (Universal Music Catalogue)
  • Copyright: (C) 2006 Sheridan Square Entertainment, Inc
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:00:25
  • Genres:
  • ASIN: B002HU0BA0
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Bestsellers Rank: 73,181 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.5 out of 5 stars
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12 of 12 people found the following review helpful By J. W. Bassett on 5 May 2006
Format: Audio CD
In January, after ten years, four albums and citing the reliable stand-by of 'irreconcilable differences', Grandaddy decided to call it a day. However, despite announcing their break-up, the band decided to record Just Like The Fambly Cat as their swansong. The result is an album that, due to its variety, is the perfect distillation of the Grandaddy experience - so much so that it could easily be a greatest hits package, were it not for the fact that all of the songs are new.

Beginning with a gentle piano refrain, Just Like The Fambly Cat opens with the same sadness and trepidation that one should expect for the final installment of Grandaddy's musical odyssey, but from thereon in the band run the gamut of their sound. So, while there's plenty of invention, many of the tracks pay homage to songs previously released by the band.

In fact, Jason Lytle and his band even retreat as far back as their relatively obscure, lo-fi debut, A Pretty Mess By This One Band, on Skateboarding Saves Me Twice, Jeez Louise is the perfect pop song with which the band made their name and easily the equal of A.M. 180 from their sublime full-length debut, Under The Western Freeway, and Elevate Myself too recalls the funky, fuzzed-out soundscapes of their full-length debut. Summer... It's Gone, meanwhile, is the forlorn cousin of their 1997 breakthrough single, Summer Here Kids. If that single marked Grandaddy's arrival, then Summer... It's Gone is, perhaps the perfect farewell.
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7 of 7 people found the following review helpful By S. G. Warner on 28 May 2006
Format: Audio CD
I've only listened to this two or three times since getting it but it's well on its way to being my favourite Grandaddy album. It's not as samey as Sumday (brilliant though Sumday is) and perhaps for the un-initiated, slightly more accessible than The Sophtware Slump (another classic) but it's absolutely un-mistakably Grandaddy, and for that I am truly grateful.

Basically if you like Grandaddy you'll love this, if you don't like Grandaddy, there's something wrong with you.
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2 of 2 people found the following review helpful By A. Provan VINE VOICE on 11 Dec 2006
Format: Audio CD
And so Grandaddy pass off into the sunset, beaten by apathy. Thankfully they aren't going with the tail between their legs. Just Like the Fambly Cat is a mighty roar of a final album, when all that could have been expected was a whimper.

The signs didn't look good for this final album, what with the band on the verge of splitting up and last year's mini-album Excerpts From the Diary of Todd Zilla being a lacklustre effort saved by two or three tunes. Add to this the fact that the band's last full length album Sumday was easily their worst, too bloated and plodding after the frankly thrilling first two efforts, and it looked as if this once great band were going to destroy the good reputation they had deservedly built for themselves.

Thankfully Fambly Cat proves to be a fitting epitaph for the band, an adrenaline rush that makes you lament the fact that the band are already doomed. The album does what the earlier Grandaddy releases done with ease, a combination of cracking little rocky pop numbers with some sad, beautiful songs that really complimented Jason Lyttle's voice, all the time retaining a sense of humour and playfulness, something that Sumday sadly missed.

Of the rock numbers Disconnecty and Geez Louise are great pop and Rear View Mirror demonstrates more verve than at any other point in the band's career and is a candidate for their best song. Where I'm Anymore and This is How it Always Starts are heart breaking. The album does make a couple of mis-steps, the opener and 50% being particularly poor, and the curse of Sumday rears its ugly head again in the shape that the album is a little too bloated. It could have done with a little trimming but its easy to see why the band would want to include as much as possible.

So it isn't perfect, but then that's kind of the point when it comes to Grandaddy, so top marks for a fitting last album. They'll be sorely missed.
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2 of 2 people found the following review helpful By Gigs on 24 May 2006
Format: Audio CD
So here it is then. Grandaddys swansong. Without a doubt this is one group that deserved more acclaim for there work than they ever recieved. In my opinion they have released one Bona fide classic in The Sophtware Slump, and all of there other work is right up with the best.

Frequently (Wrongly...)compared to the Flaming Lips, Grandaddy have decided that after years slogging it out, they dont have the money or the inclination to do it anymore. This is so sad when you consider some of the dross which is clogging up the airwaves and mp3 players of the world. They have a song for every emotion, and this album is no different.

The opener is typical Grandaddy, with the childs voice and a fuzzy background piano. This leads into Jeez Louise, which is great. Other high points for me are the sublime Rear view mirror, Elevate myself, and of course This is how it always starts.

An anorac note for hidden track 15. When the band did a signing for Sumday at a record store in Sydney my brother went along and ended up talking to Jason Lyttle for a good 30 mins. They discussed a mutual love of ELO. Track 15 is Shangri La, an ELO tune taken from A New World record. It fits beautifully, just like the band always did.
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