The Red | Let's Not & Say We Did

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Pop: Beatles-pop Pop: Pop/Rock Moods: Type: Acoustic
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Let's Not & Say We Did

by The Red

The Red is an Acoustic/Pop/Rock band.
Genre: Pop: Beatles-pop
Release Date: 

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  Song Share Time Download
1. Be In LA
3:45 album only
2. Go
3:59 album only
3. Give In To Me
3:51 album only
4. Robot Man
4:34 album only
5. Fear #5
1:15 album only
6. Hey, I'm In Love
3:53 album only
7. War
4:53 album only
8. The New York City Snow Flake Song
4:01 album only
9. Revisited
7:16 album only
10. I Am A Man
6:08 album only
11. Janus
1:49 album only
12. Don't Let Go
6:06 album only
13. Fries, Bread, Kisses & Toast!
1:10 album only
14. Yeah
5:24 album only


Album Notes
Like Dickens, Fellini and Bob Dylan before them, The Red possess an enviable talent for documenting the challenges and absurdities of their time. On their ORC/Bella Records debut disc, The Red serve up their own unique version of the Great American Road Album. Produced by Dave Schiffman (Johnny Cash, Tom Petty, Red Hot Chili Peppers), Let's Not and Say We Did is more than just an uproarious album title - it's an apt metaphor for The Red's reportorial song writing style. Featuring 14 original compositions that veer recklessly from avant-folk and lounge-pop to countrified rock and beyond, Let's Not and Say We Did unfolds like a journalistic novel brimming with beautiful losers, flawed heroes and terrifying ne'er do wells. It's a CD that captures the complexities of modern American life while showcasing the gripping simplicity of The Red's acoustic rock sound.

The Red prove their mettle throughout Let's Not and Say We Did. The album was mostly composed during the group's independent 1999-2000 North American tour -- the hand-to-mouth jaunt that provided much of the thematic material for the disc. The record is a document of the journey the band took on thei last tour. It has so much to do with touring; with being out there and writing from observation. Lead vocalist and guitarist Marco Aiello is quick to point out that any similarities between The Red and the characters in their songs is mostly coincidental. "While every song is written in the first person, all of the songs are other people's stories," Aiello says.

The band's explorations have resulted in intelligent and engaging pop. On the locomotive folk-rocker "Be In L.A.," The Red chronicle the paranoid thoughts of a homesick entertainer. They assume the predatory voice of a smarmy, self-absorbed lounge lizard on the jazzy "Go". These and other character studies are offset by the group's personal psychic examinations. "Robot Man" finds Aiello and Langhaar struggling to retain their identity in an increasingly alienated world. To wit: "I wanna be high like the sun/ I gotta be free and fall like the rain/ I've got to try to get up and run/ and not be afraid of emotion and pain".

Such lyrics might sound contrived coming from less earnest artists, but The Red's uncompromising search for intimacy has resulted in an urgent acoustic sound veritably pulsating with humanity. Moreover, the group has cultivated a loyal, nationwide fan base thanks to relentless touring and an independently produced debut album Mano (on The Red's own Bella Records label). Much like that auspicious debut, Let's Not And Say We Did features lyrical insights complemented by earthy rock-inspired melodies and unpredictable arrangements.

The album commences with "Be In L.A.," its lyrical allusions to performance anxiety and loneliness, the tune comes off like a semi-autobiographical account of life on the road. And while the song's yearning chorus is obvious, its verses are awash in cryptic melodrama. Says Aiello: "As the character in the song developed, he became this typical, self-loathing artist who's constantly a victim and on the verge of extremism. But at the core of his thoughts is this longing to be home that I think most people can relate to. The song has that universal feeling of belonging."

The conceptual thrust that animates "Be in L.A." is evident throughout Let's Not And Say We Did. Aiello and Langhaar employ lush, orchestral keyboards on "Go" and jazzy upright bass on "Give In To Me". The album closes with "Yeah," a freewheeling shuffle complete with squalling bebop saxophones and reverberant guitar. While songs like "Revisited" and "The New York City Snowflake Song" examine the warmer side of human nature, other tracks find The Red plumbing the depths of the American psyche. On the starkly beautiful "War," Aiello and Langhaar take a photojournalistic song writing approach. The tune starts with violent images of combat then pulls back like a camera to reveal lyrics about the nuances of love. "That song started with me assembling every word and phrase I could think of that had to do with battle," Aiello explains. "I wanted to figure out how those words applied to relationships, and how I could explore the notion of intimacy in a battle."

Numerous gigs and an independently recorded CD followed. The group sold their cars, purchased a van and booked a national tour that lasted from Sept. 1999 to June 2000. Their touring experiences provided the lyrical grist for Let's Not And Say We Did. With its songs about sex, food, love, fear, war, vulgarity, and machinery, the album trumpets the emergence of a vital new voice on the contemporary music scene.

"Because we play as an acoustic band, we've been forced to step up and become better performers," Aiello says. "Without drums or electric instruments, there's nothing to hide behind. It's made us work harder, but it's all about trying to achieve a different sound nobody's ever heard before."



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