Fakebook (Yo La Tengo)

I did a doubletake when I clicked on this page to write a review of Fakebook and saw that its original release date was 1990. I had forgotten that almost 20 years have passed since this disc was released. That makes the contents all that more remarkable. The music contained herein is timeless, gently-played and almost ethereal takes on pop tunes created by artists often even more obscure than Yo La Tengo. After several albums of Sonic Youth-inspired (and sometimes excessive) noise-pop, Yo La Tengo did a very Velvet Undergroundy about-face (ie, from White Light/White Heat to The Velvet Underground) and released this quiet gem. As other reviewers have pointed out, it's great music for summertime. I discovered it during a foggy Berkeley (CA) Springtime so for me it conjures up memories of gray Northrn California days (that for me is a good thing). It's moody and atmospheric without trying to be, and very, very heartfelt. I think this disc achieves what a lot of modern indie ro... Read more

An older disc in a more traditional, subdued form, the album competently pays homage to the soft classics they cover and emulate, offering yet another angle for the band to mine in a diverse catalog. But overall, despite a lingering sweetness, FB remains ploddingly dull, moreover in the face of spacey textural advantages utilized on further albums.

"Fakebook" is an album quite unlike any other in Yo La Tengo's catalog. Putting aside their love of feedback and noise, the band settled into an album of mostly covers (with five originals-- including some previously recorded-- scattered throughout). Welcoming back guitarist Dave Schramm from their debut Ride the Tiger from an encore, the album of mostly folk and folky songs is smothered in acoustic guitars and slides. And throughout, it's a fun listen. This is evident straight from the opener, original "Can't Forget". With a great steel guitar lead and a delicate male/female harmony vocal, the piece captures your attention and doesn't let go before wrapping up a couple minutes later. The album pretty much continues in this vein, angular acoustics, hushed tones, and great steel guitar leads with occasional deviations ('50s rock and roll send up send up "Emulsified"). At it's best, it's filled with a whole lot of swaggering fun ("Griselda") or sensitivity ("Andalucia" and "Spee... Read more

I am sorry I just can't see this album being better than Nirvana U2 Nine inch nails or weezer

The genuine affection for the tunes on display here make for a fine low-key listening experience. Covers and originals meld together in what seems to be a love letter to musical sensibilities of an earlier time. There's a country & western, soft rockabilly, or folk vibe throughout with understated vocals and nary a hint of the experimental "noise", contrapuntal dissonance, and detached attitude for which the band is usually known. This is an album for fans to get their arms around and embrace. Those uninitiated in the ways of Yo La Tengo would probably best be forewarned that this album is hardly indicative of the band's usual direction, but may like it nonetheless as an album to just "chill" by.

Fantastic album. 16 unique and perfectly performed covers (hence the name "fakebook") that includes the underground song "speeding motorcycle" written by the institutionalized man in Texas, and other extremely random choices - the only of these covers I'd ever heard before is "here comes my baby" which shows up on the Rushmore soundtrack performed by Cat Stevens. Fakebook is a brillant album, and one of my all time favorites.