Fireballet

Introduction to Fireballet's "Two, Too..."

Released in August 1976 on Passport Records, "Two, Too..." is the second album by the New Jersey-based band Fireballet. The group combines elements of funk, soul, jazz, rock, and progressive rock, creating a diverse soundscape. The album features a blend of intricate compositions and vibrant instrumentation.

Musical Composition

The album opens with "Great Expectations," written by Jim Cuomo. This track sets the tone with its rhythmic complexity and engaging melodies. "Chinatown Boulevards," co-written by Cuomo and Ryche Chlanda, showcases the unique use of harpsichord by Brian Cuomo, adding an unusual texture to the rock framework. Another standout track is "It's About Time," which continues the thematic exploration with thoughtful lyrics and dynamic arrangements.

Key Tracks and Collaborators

Among the highlights is "Desiree," a cover of a song by Mike Brown and Tom Feher, which was released as the album's single. The closing piece, "Montage En Filigrée," features string arrangements by Brazilian musician Eumir Deodato, enhancing the album's eclectic feel. The band members contribute a variety of instruments, including accordion, electric piano, and even a Chinese zither, showcasing their diverse musical backgrounds.

Production Details

The album was produced by Stephan Galfas, who played a crucial role in shaping its sound. The engineering work was handled by Cliff Hodson, ensuring high-quality audio throughout the record. Fireballet's lineup includes Jim Cuomo on drums and lead vocals, Ryche Chlanda on guitar and mandolin, and Frank Petto, who plays accordion and electric piano among other instruments.

Album Artwork

The cover art of "Two, Too..." features the band members dressed in ballerina costumes, which visually represents their artistic approach. This unique aesthetic complements the experimental nature of their music and adds an extra layer of intrigue for listeners and collectors alike.

Conclusion

The album "Two, Too..." was released in 1976. It serves as an example of the musical experimentation occurring in the 1970s.