The Neville Brothers Albums (16)
'Heart & Soul of New Orleans'
Release Date 4/22/2008
Tracks 8
Label Neville Nation
See Album Tracklist and Review
'Walkin' in the Shadow of Life'
Release Date 10/19/2004
Tracks 13
Label Chordant
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What The Critics Say
Walkin' in the Shadow of Life is the first studio effort by the Neville Brothers since 1999's Valence Street. The Neville Brothers are sporting a new label (Back Porch), and with it a rejuvenation of their combined strengths. Calling Walkin' in the Shadow of Life a concept album might be a stretch, but at the very least it is a song cycle. These 13 tracks blend contemporary funk with socially aware lyrics, particularly on "Streets Are Callin','' "Your Life (Fallen Soldiers)," "Carry the Torch," "Can't Stop the Funk," and one of the finest moments on this disc, a reworking of the Temptations' 1970 Motown hit "Ball of Confusion." The set is truly a family affair, with Aaron's son Ivan playing keyboards and Art's son Ian on guitar. Walkin' in the Shadow of Life finds the Neville Brothers reaching back into their distant past to extend a universal message of peace and hope while developing this fully realized album in the process. ~ Al Campbell, All Music Guide
'Live in New Orleans'
Release Date 10/10/2003
Tracks 10
Label Rhino Flashback
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What The Critics Say
For their Columbia Records debut, the Neville Brothers returned to a classic production and songwriting style more typical of their early years than of their work of the 1980s and '90s, and they named it after the street they grew up on to signal their renewed focus on local concerns. Gone was the wet, murky sound mix of Daniel Lanois, replaced by dry aural clarity and precise instrument placement in a production by the brothers themselves. While retaining the second-line funk rhythms of New Orleans, their music hewed much more to a traditional R&B/soul sound, with little dabbling in world music. The title track, written by Charles, was even an instrumental that wouldn't have sounded out of place on a Meters album, and you could also say that about "Real Funk," co-written by Art. Though the brothers traded off vocals and Cyril turned in an excellent performance on the soulful romantic ballad "Until We Meet Again," co-written by Charles, Aaron's voice had long since become so identifiable beyond the group that his vocals on songs like "Little Piece of Heaven," the standard "If I Had a Hammer," and "Give Me a Reason," and even in occasional asides on other songs, tended to stick out the way Michael Jackson used to on Jackson's albums, rendering him, through no one's fault, a solo artist within a group and hurting the record's overall balance. ~ William Ruhlmann, All Music Guide
'Live at Tipitina's 1982'
Release Date 8/18/1998
Tracks 19
Label Rhino
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What The Critics Say
Live at Tipitina's 1982 is a two-CD set that gathers both the two released albums from the Neville Brothers September 1982 gigs at local New Orleans hangout Tipitina's -- 1984's Nevillization I/Live at Tipitina's and 1987's Nevillization II: Live at Tipitina's -- and strives to roll them into one complete, concise work. The only problem is that although the albums were similarly recorded, they were eventually released under different circumstances: the second part was augmented with studio-sweetened instruments and audience noises, and at times the overdubs are glaringly, and intrusively, obvious. Still, the first half of Live at Tipitina's 1982 (featuring material from the original Neville-ization disc) remains one of the Crescent City's most representative documents -- "Fever," "Tell It Like It Is" and "Fear, Hate, Envy, Jealousy" just plain sizzle -- and it's one of the Neville Brothers most revered volumes (as well as one of the best live albums of the '80s). Think of the sequel as an extended, if not totally successful, bonus disc. ~ Michael Gallucci, All Music Guide
'Mitakuye Oyasin Oyasin/All My Relations'
Release Date 1/1/1996
Tracks 11
Label A&M
See Album Tracklist and Review
What The Critics Say
The Neville Brothers have made a family affair of their first studio album in four years, writing much of the material themselves and co-producing the record with James Stroud. As a result, they are making less of an effort to secure a pop hit this time, even though they do throw in a little rap and a funky cover of Bill Withers' "Ain't No Sunshine." But part of the reason they tend to be more interesting live than on record is that, beyond being well-meaning, they haven't got much to say. Most of the songs here are homilies to brotherhood, responsibility, and environmentalism, set against tracks that evoke Brazilian music, mbaqanga, reggae, R&B, and soul and are heavy on percussion and horns. Occasionally, as on the respectable cover of the Grateful Dead's "Fire Of The Mountain," with guest guitarist Bob Weir, or on Aaron Neville's typically ethereal "Saved By The Grace Of Your Love," the music transcends both the message and the groove. But this is an album of small pleasures rather than the larger statement it seems intended to be. ~ William Ruhlmann, All Music Guide
What The Critics Say
Clearly, this is intended to be the definitive live document of a band that has always been defined by its live work. Clocking in at 71 minutes, the album was culled from a world tour. The rhythm section of drummer Willie Green and bassist Tony Hall keeps up a steady groove from song to song, and the Nevilles trade off lead and harmony vocals on original songs that range across their career and add everything from Bob Marley compositions to "Love the One You're With" and "Amazing Grace." They Neville-ize all comers, throwing them into the pot and coming out with a tasty gumbo. If there's anything missing, it's the small-club atmosphere from which the Nevilles emerged: this is a wide-screen treatment of music that gained impact from its intimacy but now seeks to form a global conga line. ~ William Ruhlmann, All Music Guide
What The Critics Say
New Orleans' favorite sons, the Neville Brothers, pool their talents again on this CD. Family Groove is a clever reference not only to the musical abilities of the four brothers, but to the shared interests and concerns of the brothers and their families. All the usual Neville elements are here: Charles Neville on the saxophone, Cyril Neville on the drums, Art Neville on piano, and the inimitable voice of Aaron Neville. Their message is the Neville gospel of social and political justice, as well as the importance of love and family. Hence, the family groove. In "Line of Fire," brother Art Neville speaks to the growing problem of drugs and guns claiming the lives of many young black men in the cities. Aaron's son, Jason Neville, makes an appearance with a rap tune lamenting the tragic plight of the homeless in the richest country in the world and the complacent America that looks the other way. The one-world outlook of the Nevilles is exemplified on the beautiful harmonies of "Let My People Go," as well as in their closing number, a traditional "Maori Chant." They sing their recognition that people all over the world want the same thing: freedom, peace, and love. This is vintage Neville Brothers philosophy delivered as always with the funky beat and unique Neville sound that has captivated fans all over the world. ~ Rose of Sharon Witmer, All Music Guide
What The Critics Say
Why doesn't more R&B sound like this? Although hampered by a poor mix, Brother's Keeper is nevertheless a classic example of what makes the Neville Brothers so good -- and so frustrating. Tracks like the booty-shaking funk of "Brother Jake" or the gospel-tinged "Steer Me Right" are full of soulful vocals and wonderful harmonies. Aaron Neville's timeless voice is displayed beautifully on "Fearless," where he is joined by Linda Ronstadt for one of the strongest tracks on the record. The Neville Brothers' ecumenical spirituality permeates every second of Brother's Keeper, making for a few awkward moments (like the head-scratching opener "Brother Blood," for example), but a few moments of true sublimity (as when Art Neville spits "Pro choice-no choice/We're sending our sons and daughters to their slaughter" on "Sons and Daughters"). The pop material on Brother's Keeper, such as Link Wray's "Fallin' Rain," works well, but other tracks, like "River of Life," seem forced. If the Neville Brothers showed a little discretion with regard to their lyrics and cut a couple tracks, they would have had a much stronger album, which in a way is as good a statement as one could make about their entire career. ~ Daniel Gioffre, All Music Guide
What The Critics Say
The Neville Brothers made a bid for pop/rock stardom with this well-produced album for A&M, their first under a new pact with the label inked in the late '80s. It was certainly as solid as any they cut for A&M; the vocals were both nicely arranged and expertly performed, the arrangements were basically solid, and the selections were intelligently picked and sequenced. The album charted and remained there for many weeks, while the Nevilles toured and generated lots of interest. It didn't become a hit, but it did respectably and represents perhaps their finest overall pop LP. ~ Ron Wynn, All Music Guide
