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Float Away With The Friday Night Gods

Rate It! Avg: 3.0 (34 ratings)
Float Away With The Friday Night Gods album cover
01
Float Away
5:18
$0.49
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02
Soul
4:07
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03
Revolution
5:21  
04
People Of The Underground
4:33
$0.49
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05
Crying On An Airplane
5:02
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06
Leaving
4:19
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07
Shame
4:38
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08
For All We Know We're Dreaming
5:28
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09
What 2 Bring
4:27
$0.49
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10
Out In Style
6:22
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Album Information
EDITOR'S PICK

Total Tracks: 10   Total Length: 49:35

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user avatar

Marah or Smashmouth?

bmantx

I loved Kids in Philly and Let's Cut the Crap, so I jumped on this CD. What a shock. I am not kidding when I say that I pulled the CD out to see if I had accidently bought a Smashmouth CD. Over-produced, bland pop. I usually don't review CD's I hate, because every band is entitled to a bad decision or 2. But since there is only a rave review up, I just want to warn people who love the early Marah sound. It's not here. Move along.

user avatar

A fantastic, noisy album.

apaguaji

FAWTFNG's has tons of catchy tunes (except for What 2 Bring) and lots of thick sonic fun. Get it. This album is a relatively severe departure for Marah from their alt-country-rock past. It's not the monumental album that their later, If You Didn't Laugh, You'd Cry, is, but you can't fault them for branching out. The cover says it all - this is a great headphone album to get in a great frame of mind for going out partying. And with headphones, The Boss comes through loud and clear on the first track. And if you need something more them, go for Float Away Deconstructed, its decent.

They Say All Music Guide

Contradictory forces battle throughout “Float Away,” as the band’s spirited performance bogs down repeatedly in murky mixes. Layers of sound clog the midrange; with little edge in the upper register and with the bottom a little dank, there’s less impact than listeners might expect from a band with this much soul. The marquee moment, guest backup vocals and a guitar solo from Bruce Springsteen on “Float Away,” is almost completely smothered in layers of noisy activity. A comparison of this track with Roy Bittan’s fanfare keyboard fills and Max Weinberg’s popping backbeat on Springsteen records makes the point unavoidable: more clarity in the sound and economy in the arrangement would do wonders for Marah. Cutting back on the surf-beat handclaps on several tracks would have been a useful first step, while reining in the guitars a bit on “Crying on an Airplane” would breathe some welcome space into the album’s only ballad. For all the bravado of their sound, Marah fails to achieve distinction on “Float Away”; perhaps if they didn’t echo the Boss quite so much on lyrics like “When I’m out on the street,” from “Leaving,” they might move more boldly into their own light. – Robert L. Doerschuk

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