Review Summary: 50s venice isn't just a dream
Unless you have Italian parents or grandparents who constantly reminisce about the good ol' days, most people's first experience with Tony Mottola is from The Avalanches' seminal
Since I Left You and how his excellent guitar work is sampled repeatedly. Fitting, isn't it, that one of the most innovative and varied albums of the last two decades draws upon a record that is singularly focused on a specific type of sound. Most may typecast this style of music as easy listening, but that would be denying how inventive and joyous the compositions in
Roman Guitar truly are. Mottola and his merry crew of instrumentalists draw upon everything from lounge music to big band to create an album narrow in scope, due to it being all covers, but utterly harmonious in practice.
It's easy to just listen to
Roman Guitar and be wholly satisfied without even mildly delving into how carefully crafted the tracks are. The vibe given off is pure bliss; there isn't a single song on the LP that can't provide a good mood. This atmosphere is all sustained by the wonderful instrumental scores produced in tandem with Mottola's iconic guitar. Musicians such as Dominic Cortese on the accordion, Phil Bodner and Stanley Webb shining in the woodwind and brass sections, and Phil Kraus' incredible percussion stint all work together perfectly in order to complement Mottola. Himself no slouch, Tony Mottola's guitar playing on
Roman Guitar sees it that he's worthy of a solo release. Songs like "Anna", "Neapolitan Tarantella", and "Volare" are all highly impressive displays of skill and simultaneously delightful listens as well. They even conjure up Looney Tunes-esque impressions with "Woodpecker Song", making it extremely high-energy and wondrous.
For most listeners, the appeal of
Roman Guitar is its easygoing mentality and sonorous approach to each song. But regardless of whether one is listening to this record casually or critically, it never fails to impress with a wide variety of styles and genres packed into the album. Mottola and company provide a fun, yet symphonically dense romp through an array of different classics here, and it's as catchy as it is imaginative. For once in a while, the good ol' days aren't just a sham, they're exactly that.
