Track Listing

1. What Happened
2. Jeez Louise
3. Summer It's Gone
4. Oxygen/Aux Send
5. Rear View Mirror
6. Animal World
7. Skateboarding Saves Me Twice
8. Where I'm Anymore
9. 50%
10. Guide Down Denied
11. Elevate Myself
12. Campershell Dreams
13. Disconnecty
14. This Is How It Always Starts

Product Details

• Amazon Sales Rank: #48343 in Music
• Released on: 2006-07-01
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.co.uk Review
If ever there were a band built to fade away rather than burn out, Grandaddy were it. For all their many highs they nearly always sounded like the batteries were running low. Sumday, their last album proper, especially was the sound of a band bumbling towards a dusty horizon with a squiffy smile and a tranquilizer dart hanging from a main artery. So to meet a resurgent Grandaddy is not only surprising, it also verges on cruel--they already have one foot out of the door following their split earlier this year. This goodbye album, in the context of the band alone, is remarkable for its success rate, not to mention its pulse. It makes a pretty bold statement in the context of the wider world too.

It may not be directly comparable to their hermetically-sealed psychedelic masterpiece The Sophtware Slump, but it does draw brightly from all aspects of their existence and feels like it’s sticking right behind the pace-maker. It doesn’t slump once. "Jeez Louise" is old school Flaming Lips weird pop with the wind in their beards and the phaser guns out; "Summer.. It’s Gone" is a gorgeous weightless acoustic ditty; "Rear View Mirror" is a box of 70s rock riffs in space and "Skateboarding Saves Me Twice" sounds like a synthesised Belle & Sebastian backing track on laughing gas. As posthumous releases go it is a triumph and needn’t just rely on the charity of loyal completists.--James Berry

CD Description
'Just Like the Fambly Cat' is the posthumous album by Modesto's finest ever band, Grandaddy. Combining elements of bands such as ELO and Mercury Rev in a lo-fi fashion, this albumis a fine finish to a fantastic run of albums by the Californian indie heroes. Includes the single 'Elevate Myself'.

Customer Reviews

A fitting swansong
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.

Last year's Excerpts From The Diary Of Todd Zilla, with its emocore leanings, was an indication that band leader Jason Lytle was still prepared to try new things, and Just Like The Fambly Cat does occasionally push in new directions - witness the thrash punk of 50% and the operatic album closer, Shangri-La - but no matter what genre the band mould for themselves, the subject matter comes as little surprise. With their final album, Grandaddy finally pull themselves away from the technology dominated world that they lambasted on their seminal album, The Sophtware Slump. The Animal World, with its barking dogs and chirruping birds, marks the beginning of this journey towards a more organic place, while the dreamy Guide Down Denied is also concluded with the sound of a dog barking.

Lyrically, Lytle doesn't give much away, but the reflective Where I'm Anymore has him admit, "I don't know where I'm anymore", and the dominant refrain of the six-and-a-half minute drama of album closer This Is How It Always Starts - the beautiful and fitting Shangri-La outro goes unmentioned on the album's sleeve - is, "Oh shit, I can't let them see me like this".

Taken purely on its musical merits, Just Like The Fambly Cat is an album where astral synths fuse with acoustic guitars to form a distorted pop framework; where its creators, ambitious as ever, reach further than perhaps it is wise to. But, more than anything else, it's Grandaddy's final album and as such, was doomed to perfection from the start.

RIP Grandaddy.
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.

Pure Americana...
One facet of Grandaddy's music is consistently overlooked by critics and reviewers: that this is profoundly *American* music; it is the truest expression and "sound" of a warm American Summertime afternoon since Pet Sounds, complete with lawn mowers, sprinklers spinning around, and crickets in the cool evening. Grandaddy owe more to The Band, Big Star, the Velvets, Dylan, Gram Parsons, and the 13th Floor Elevators than they do Radiohead, the Flaming Lips, and Mercury Rev.

And this, their final LP, is easily as good as anything in their back catalog, though, as everyone notes, it is more complex, more inaccessible, and generally harder to "get". They seem to have pulled out all the stops to be as sonically bold and challenging as possible, and it certainly pays off to the careful listener.

One of the few genuinely *important* bands of the last 25 years...