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Candy Butchers|Play With Your Head

Play With Your Head

Candy Butchers

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On their/his full-length debut album, Falling Into Place, Candy Butchers' Mike Viola (the group name is really a polite fiction) came off as a successor to Graham Parker and early Elvis Costello in the romantically angered post-punk new wave vein, a worthy enough position that tends to delight critics without engaging the critical mass of fans it takes to maintain a major-label record contract. On his/their second album (this time the billing is Candy Butchers instead of Mike Viola & Candy Butchers), Viola often comes off as a Marshall Crenshaw-style power popper, steeped in the sound of mid-'60s pop/rock and its fascination with unusual sounds audible on the margins of tracks dominated by electric guitar riffs and hooky choruses. "Baby, It's a Long Way Down," for example, is distinctly Beatlesque, while "My Monkey Made a Man Out of Me," apparently a celebration of addiction, boasts an intro and outro that recall George Harrison's flirtation with Indian music. On Falling Into Place, Viola seemed to be writing the same song of romantic disappointment over and over; here he is still disappointed, but his frustration is more global. "The older I get the more it seems/I watch my dreams get smaller," he begins on "It's a Line," and this sense of diminished expectations pervades the songs. The romantic element is not absent, but things are more specific and more desperate, notably on "I Let Her Get Away," in which a pregnancy is compared to mold. By album's end, Viola has practically abandoned the studio trickery to return to a Parker/Costello-like stance on "Make No Mistake," singing over acoustic guitar accompaniment with bitter wordplay that continues into the elegiac closer, "Call Off the Dogs." The album makes another impressive, if severe, statement likely to play well to the brainy and miss the masses.

© William Ruhlmann /TiVo

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Play With Your Head

Candy Butchers

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1
Worry My Dome
00:02:41

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

2
My Monkey Made A Man Out Of Me
00:02:37

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

3
You Belong To Me Now
00:03:10

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

4
Ruby's Got A Big Idea
00:03:15

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

5
Tough Hang
00:03:41

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

6
Baby, It's A Long Way Down
00:03:53

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

7
It's A Line
00:03:43

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

8
I Let Her Get Away
00:03:03

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

9
My Heart Isn't In It
00:02:37

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

10
Make No Mistake
00:04:56

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

11
Call Off The Dogs
00:03:21

Mike Viola, Composer, Lyricist, Producer, Guitar, Vocal - Candy Butchers, MainArtist, AssociatedPerformer - Mike Levesque, Drums, Background Vocal - Pete Donnelly, Bass, Background Vocal

(P) 2002 RPM Records

Album review

On their/his full-length debut album, Falling Into Place, Candy Butchers' Mike Viola (the group name is really a polite fiction) came off as a successor to Graham Parker and early Elvis Costello in the romantically angered post-punk new wave vein, a worthy enough position that tends to delight critics without engaging the critical mass of fans it takes to maintain a major-label record contract. On his/their second album (this time the billing is Candy Butchers instead of Mike Viola & Candy Butchers), Viola often comes off as a Marshall Crenshaw-style power popper, steeped in the sound of mid-'60s pop/rock and its fascination with unusual sounds audible on the margins of tracks dominated by electric guitar riffs and hooky choruses. "Baby, It's a Long Way Down," for example, is distinctly Beatlesque, while "My Monkey Made a Man Out of Me," apparently a celebration of addiction, boasts an intro and outro that recall George Harrison's flirtation with Indian music. On Falling Into Place, Viola seemed to be writing the same song of romantic disappointment over and over; here he is still disappointed, but his frustration is more global. "The older I get the more it seems/I watch my dreams get smaller," he begins on "It's a Line," and this sense of diminished expectations pervades the songs. The romantic element is not absent, but things are more specific and more desperate, notably on "I Let Her Get Away," in which a pregnancy is compared to mold. By album's end, Viola has practically abandoned the studio trickery to return to a Parker/Costello-like stance on "Make No Mistake," singing over acoustic guitar accompaniment with bitter wordplay that continues into the elegiac closer, "Call Off the Dogs." The album makes another impressive, if severe, statement likely to play well to the brainy and miss the masses.

© William Ruhlmann /TiVo

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