The Ponzi Scheme

( 1 )

Editorial Reviews

All Music Guide - Ned Raggett
Gabay is out and George Javori is in on the drumming tip, among numerous others, but Firewater still swings with the best of them, as The Ponzi Scheme shows in spades. A near perfect film noir start, sleazy sax, and Duane Eddy-meets-piano line and more with the aptly titled "Ponzi's Theme" gets things going -- Tod A himself sits this number out vocally, letting everyone vamp and snarl with the best of them before cutting loose on "Green Light In Stereo." His raspy charisma remains in full effect, while musically there are hints of Nick Cave's various musical fusions and a relatively more conventional rock approach to boot. Even if The Ponzi Scheme doesn't totally threaten ...
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Editorial Reviews

All Music Guide - Ned Raggett
Gabay is out and George Javori is in on the drumming tip, among numerous others, but Firewater still swings with the best of them, as The Ponzi Scheme shows in spades. A near perfect film noir start, sleazy sax, and Duane Eddy-meets-piano line and more with the aptly titled "Ponzi's Theme" gets things going -- Tod A himself sits this number out vocally, letting everyone vamp and snarl with the best of them before cutting loose on "Green Light In Stereo." His raspy charisma remains in full effect, while musically there are hints of Nick Cave's various musical fusions and a relatively more conventional rock approach to boot. Even if The Ponzi Scheme doesn't totally threaten and artistically intrigue like Get Off the Cross did, though, it's still a good time had by all. Doug Henderson once again does a fantastic job on production, while Sylvia Massy adds a bit of mixing here and there, all letting the strengths of the band burst through with its usual aggressive liveliness. Admittedly, hearing downright peaceful chiming on "Caroline" and poppy '60s-style grooves on "So Long, Superman" is more than a little surprising from the guy who once spat out tracks like "10 Dollar Bill," but time does change things. Standout tracks litter the album -- "Dropping Like Flies" is particularly great, both a strong, kicking rocker and a carefully arranged orchestral creep-out, strings adding a subtle bite to Tod A's increasingly desperate singing. Indeed, both Hahn Rowe's violin work and the regular guest appearance of cellist Jane Scarpantoni provide some of The Ponzi Scheme's best moments, like the ruined sea chantey "Isle of Dogs." There's the galumphing horn section from the circus-gone-wrong of "El Borracho" and the perfect title for the final song, "Drunkard's Lament," to name two other fun highlights of this most cool album.
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Product Details

  • Release Date: 7/25/2001
  • Label: Bad News Japan
  • EAN: 4529408000802
  • Catalog Number: 60

Album Credits

Performance Credits
Firewater Primary Artist
Duane Denison Guitar
Pamela Fleming Trumpet
Doug Henderson Bass
Jenny Hill Piccolo, Saxophone
Kurt Hoffman Saxophone
Jim Kimball Drums
Dave Ouimet Organ, Piano, Trombone
Hahn Rowe Violin
Jane Scarpantoni Cello
Tod A. Bass, Vocals
Joe Ben Plummer Saxophone
Paul Wallfisch Organ, Piano
George Javori Drums
Birgit Staudt Accordion
Tim Otto Conductor, Saxophone
Paula Henderson Baritone Saxophone
Oren Kaplan Guitar
Tamir Muskat Drums
Susan Graham Alto Saxophone
Technical Credits
Suzanne Dyer Engineer
Doug Henderson Producer, Engineer, Contributor
Rod Hui Contributor
Ted Jensen Contributor, Mastering
Sylvia Massy Contributor, Mastering
Jay Healey Contributor
Brian Martin Engineer, Contributor
Tod A. Producer
St. Ungracious Girls School Marching Band Contributor
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    green light

    Less acoustic guitar and more keyboards and horns mark the second, more groove-laden Firewater album. The more raucous tunes spin seedy urban scenes through a dizzying barrage of outstanding simile-laden lyrical twists. The real standouts, however, are 'Isle of Dogs' and 'I Still Love You, Judas,' two slow burners that feature some particularly wrenching vocals. Lyrically and musically more complex than its predecessor, this album is a must-have for fans of innovative yet down and dirty rock.

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