"The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Pretty self-explanatory
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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YouTube: Surrender To The Rythm (available soon): https://www.google.be/url?sa=t&rct=j&q= ... -qWe6aobhy
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Hawksmoor »

Heh. If's a positive and well-meaning review, but I strongly suspect that 'punk but having a classic rock heart' is pretty much the last label that Elvis would want ascribed to him! :D
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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https://www.allmusic.com/album/the-resu ... 0003728659

The Resurrection of Rust Review by Mark Deming

Practically every musician of note was in a short-lived band early in their career, one that broke up after a few months of bar gigs that earned them practical experience and little else. Not many decide to put the old back together to cut their belated debut EP five decades after the fact, but Elvis Costello is no ordinary guy. In 1972, Costello – then still known as Declan MacManus – was in a duo called Rusty with fellow singer, guitarist, and songwriter Allan Mayes, and they made the rounds of folk clubs and pubs for roughly a year and a half before Costello left their native Liverpool to try his luck in London. In 2021, on a lark, Mayes contacted Costello to ask about doing a one-off Rusty reunion show. Costello countered with a proposal that they make a record, and The Resurrection of Rust is a six-song EP in which the duo runs through some songs that were in their repertoire back in the day – four covers and two originals. This doubtless sounds noticeably different than a Rusty gig would in 1972, since both Costello and Mayes have gained a lot of experience since they were scuffling on the edges of the Pub Rock circuit. Costello is a far more accomplished and nuanced singer in 2022 than he was when he cut My Aim is True in 1977, and by all logic the same would be true of Mayes, who has remained a working musician and still gigs regularly in his adopted home of Austin, Texas. Instead, this sounds like two old friends taking a musical trip down Memory Lane, and having a ball doing it. While the production clearly favors Costello's tastes (and several members of his band the Imposters sit in), Allan Mayes turns out to be a great vocal match for Costello – a bit less graceful but full of gravitas, and his leads sound strong and authoritative (especially on Jim Ford's "I'm Ahead If I Can Quit While I'm Behind"), while their harmonies are rough but spirited. And when they run through the covers that were their bread and butter ages ago, they sound like they're having a blast, loping through a Neil Young Medley and a joyous take on the Brinsley Schwarz classic "Surrender To The Rhythm" (with Brisneys keyboard man Bob Andrews recreating his original organ part). As for the originals, "Warm House" and "Maureen & Sam" sound like they came from guys who were still earning their craft, but for the work of callow youngsters, they show the talent was always there, if in very raw form. The Resurrection of Rust doesn't suggest the world lost a potential classic when Rusty failed to make a record in 1972, but as a glorious recollection of a youth well misspent, it's hard not to love if you care about Costello at all.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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https://www.elviscostello.com/the-pre-c ... HiP1cUdOvI

THE PRE-COSTELLO RUSTY 1971

Having just left my arty first band, I wanted to form an acoustic Crosby, Stills Nash type outfit.

The singer songwriter boom was in full flow and as I didn’t know any drummers, it seemed like the obvious direction.

I bullied the other two members into playing my original material or the obvious acoustic cover hits of the day. [James Taylor, Cat Stevens, Neil Young etc.]

Our first gig was in October of ‘71 and we probably did a couple more gigs during the following month or so.

The other two really didn’t have the commitment [or was it an obsession?] that I had, to play somewhere every night regardless of money, distance or conditions.

New Years Eve 1971 – South Liverpool

A local folk club manager invited me to his New Year’s party at his apartment on the Southside of Liverpool.

When you watch any of those horrible rock n roll biopic movies about how Lennon met McCartney or Jagger met Richards or Morrison met Manzarek, one of them usually says something like ‘hey man, what’s that song you’re playing ?’

Well, in my memory that’s exactly how it happened with us. Or am I letting fact, fiction and fantasy confuse the reality.

What is true though, is that I heard this kid paying guitar and singing in a bedroom at that party.

If he’d been playing John Lee Hooker, Lead Belly or Eddie Cochran even, I would have just kept walking to the kitchen in my search for a fresh beer. As it happened he was almost certainly playing something from Big Pink or After the Goldrush and that was enough for me.

Having just come straight from a gig, my guitar was in the car and I quickly got it [thankfully, it hadn’t been stolen yet, after all, we were in 1970’s South Liverpool]

“Hey man, let’s jam”. Complete nonsense of course, I would never have used that phrase and I’m proud to say I’ve never said it in my lifetime.

What is more likely is that I plinked and plonked along with him as we meandered through every Dylan, Van Morrison, Robbie Robertson song we could think of, each of us trying to out-cool the other with our knowledge of obscure acoustic gems.

As our confidence grew we started singing with more and more gusto and it was blatantly apparent that our vocal range, singing style and limited guitar techniques were almost identical.

At the risk of sounding completely idiotic… it was almost as though I’d met myself.

We must have exchanged phone numbers because my diary entry of January 1st 1972 reads ‘asked Dec MacManus to join band’. [Our first rehearsal was 2nd January.]

….to be continued.
Last edited by sweetest punch on Thu Jul 07, 2022 3:07 pm, edited 1 time in total.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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[to be read in the manner of Coleen Rooney]

The answer to yesterday's Wordle was...........









RUSTY
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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https://www.irishtimes.com/culture/musi ... of-genius/

Elvis Costello & Rusty: The Resurrection of Rust — Early signs of genius

Album review: Even before 1977, Costello’s talent as a songwriter is evident

“Nostalgic” isn’t the first word that springs to mind when you look at the always forward-thinking career of Elvis Costello, but if this latest addition to his catalogue can tell you anything about the man it is that he knows how to occasionally throw a good curveball. Following 2021′s remake, entirely in Spanish, of his second album, 1978′s This Year’s Model (and not forgetting this year’s back-to-Attractions-like-basics album, The Boy Named If, he once again directs his attention towards the past.

This time, however, it’s before the stage name “Elvis Costello” and before NME headlines that positioned him as “the bug-eyed monster from Planet Guilt and Revenge”. One of then Declan MacManus’s first musical outings, playing in and around Liverpool in 1972-1973, was Rusty, a scruffy if ambitious duo (with fellow Liverpudlian singer and songwriter Allen Mayes) that for the purposes of this album has reconvened. The compact record features a mix of covers (based on the style of material that Costello would later draw from, including Van Morrison, The Band and Randy Newman) and originals Warm House (Americana meets The Hollies) and Maureen & Sam (a loose blueprint for what was to come when Costello moved to London in 1973).

We know what happened next, but The Resurrection of Rust is an intriguing glimpse at the formative years of one of rock music’s most prolific and resourceful scallywags.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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https://www.elviscostello.com/january-1 ... ree-piece/

JANUARY 1972 – RUSTY IS NOW A FOUR AND THEN A THREE PIECE

Rehearsing between January 2nd and our first gig on January 21st were something of a formality.

Our styles were so similar and our repertoire likewise that we strummed the same chords and interchanged harmonies without a moment’s thought.

[If Elvis Costello 1977 was to be referred to as ‘Buddy Holly on acid’ then Rusty 1972 was ‘The Everly Brothers on acid’!]

On January 21st at the Lamplight Club in Wallasey on Merseyside, the four piece Rusty made their live debut. It was a paying gig and the seven pounds we were paid was split four ways.

The set list that night included five of my originals, one Macmanus original and a smattering of Neil Young, Dylan etc. That ratio was very rapidly about to change particularly in view of the fact that the Macmanus original that night was Warm House, a song that would re-emerge numerous times in the future.

How can I be so precise about the details of that night?

Something made me write down in full the details of every gig that Rusty played. Something I had never done before and have never done in the 50 years since. Did I foresee that someone one day might be interested in these facts? Actually yes, but I thought I we’d be famous by July 1972 not July 2022!

An idiotic side story;

In that first month we were approached with a management offer. Not as glamorous as it sounds because this guy was no Brian Epstein. He immediately changed our name to Procyon [‘Rusty makes you sound like a country band’] and did absolutely nothing for us although I still have a cutting from a Liverpool newspaper that bills us as Procyon.

The joke here was two-fold, Procyon was the name of some intergalactic star [we were certainly not Hawkwind] and a very popular slimming bread of the day was called Procea so we immediately became the butt of many a joke from our friends and acquaintances. Mr. Donaghy and his misspelled contract were disposed of pretty rapidly and we reverted back to being Rusty by the end of February.

March 1972, our non-instrument playing singer, Dave Jago, quit the band and the set list was beginning to include more and more Macmanus originals.

The Teenage D.P. MacManus – Songwriter

George Harrison always maintained that turning up to a Beatles rehearsal with a new song he’d written was soul-destroying, as he felt he could never compete with John and Paul’s obvious genius. Apparently on many occasions he kept the new song stashed away in his pocket and departed without it never seeing the light of day.

In my situation I was nothing like George Harrison, I wasn’t even Ringo Starr. By comparison to what Declan was writing, I was more Ringo’s pool guy. I wrote songs that sounded as though they’d been written by an 18 year old school boy. Not too surprising though as I WAS an 18 year old school boy.

His songs however were a joy to hear and a joy to sing. Some of my favorite on-stage moments were singing back up on songs from his rapidly growing repertoire. Several of these made it onto the Rusty demo of the period. So well received by record companies, that my rejection folder is massive.

Speaking of disappointments, on March 20th 1972, we entered the local heats of the Melody Maker Folk Rock Contest. Absolutely convinced we would cruise to victory, we drove home from Manchester on a grey rainy day totally dejected and unplaced. Some consolation though in that the eventual national winners disappeared without trace within weeks of their “victory”.

—————————————

https://www.elviscostello.com/summer-of ... namic-duo/

SUMMER OF 1972 – THE DYNAMIC TRIO BECOME THE DYNAMIC DUO

We played a lot of gigs during that summer, not because we were so good or popular, but because we were prepared to play for free.

At the time in the U.K. on the folk club circuit, they had something called ‘floor singers night’. Nowadays that would be referred to as an ‘open mic night’.

Basically any fool with a guitar could be invited up on stage and play their songs, supporting a ‘major’ folk singer.

I have a hilarious memory of a kid who couldn’t play any instrument but had some songs he’d written. He would do all the instrument fills with his mouth between the vocal lines [Ching! Ching! Wah! Wah Wah! Drrr! Drrr! Crash, Crash, Crash,]. Mental.

In our attempt to be accepted by the folk club circuit we made a pathetic attempt to add some mainstream cover versions of chorus songs. Basically this merely involved playing some of the lighter material of our favorite writers. [“The Mighty Quinn”, “Old Kentucky Home”, “Fog On The Tyne”, etc.] The hardcore folk clubs were not impressed and would mock any song that didn’t have lyrics about ship wrecks or potato famine.

Our comfort zone was most definitely the poetry circuit [Yes, there was such a thing in the early 70’s in Liverpool] Don’t forget, this was Liverpool and just a few years after the Mersey Poets like Adrian Henri, McGough, Brian Pattern, etc. had taken the hippy world by storm.

Bass player, Alan Brown left late in that summer to pursue a University career, Declan finished his ‘O’ Levels and I was working for Liverpool City Council in the famous Liver Building.

Now, we were a streamlined duo with the world at our feet.

Brinsley Schwarz / Nick Lowe / Clover / Help Yourself

In a junk shop in Liverpool I’d picked up a copy of the first Brinsley Schwarz album. I loved it and presented it to Dec at our next rehearsal. He dismissed it as a poor man’s Crosby Stills and Nash.

He was always more of a fan of the darker writers like Jesse Winchester or Randy Newman or the meandering instrumental breaks of the Grateful Dead.

By the time I turned up with the second Brinsley’s album, pub rock was the order of the day and Nick Lowe’s songs were tailor made for us. “Country Girl” from Despite It All would be our opening song at dozens of gigs over the next year or so. When Silver Pistol was released the following year, we played everything but the sleeve.

This is pretty much where the phrase ‘the rest is history’ should emerge.

The Nick Lowe connection would set up the legendary icon that was to become Elvis Costello. The Brinsley Schwarz Cavern Club appearance in Liverpool is well documented in the Costello autobiography so it’s safe to move on.

At the other numerous Brinsley’s gigs we went to during that period they would play a song by a band called Clover. The band had also been name-checked in one of the songs on Silver Pistol. As luck would have it, I’d stumbled upon some early Clover albums and included was the song “Love Is Gone”, the song that the Brinsley’s had covered. We had no shame in covering the cover of a cover and although I have no record of us playing it. I’m almost certain we would have had a go at it.

Like Nick Lowe, Clover would play a big part in the events of the future.

In the summer of ’72 we were offered a Tuesday night residency at a club called the Temple Bar on Dale Street in downtown Liverpool. We would play every Tuesday and book all the acts and share the door take with them. This amount would vary weekly between zero and six pounds.

It was a pretty uneventful period with one exception.

Maureen And Sam / Dan / Stan

On September 5th 1972 we debuted a new song called “The Show Must Go On”.

I still have the original hand written lyrics with crossings out and changes in certain words.

It was pretty much a Macmanus 3/4 time story song about a couple of wannabe vaudeville singers.

Shortly thereafter, he changed the title to ‘MUST The Show Go On’.

On November 30th of that year, I have it listed and performed by Rusty under the title, Maureen and Dan.

Some years later I would re-title it “Maureen and Sam” and write eight more songs about the same couple in a sort of mini rock opera which my 1974-1977 band would perform regularly.

He in turn re-named the couple “Maureen and Stan” and name-checked them in the song “Ghost Train” on one of the early Elvis Costello albums.

In my version Maureen would die in obscurity at the end of the song.

Sam however would live forever and continue to change his name more often than some of us change our underwear.

———————————————
https://www.elviscostello.com/in-1973-d ... ZJGhz9QDoA

IN 1973, DECLAN CHOSE TO MOVE TO LONDON AND PURSUE HIS CAREER

I chose not to risk losing my day job and we parted company. The last Rusty gig was to be in Widnes on February 9th, 1973.

We knew it would be happening and I’d spent months auditioning replacements.

My diary entry on February 10th, 1973 reads ‘beginning to resign myself to the fact that I’m never gonna find anyone to replace Dec’.

We did do one reunion gig later that month at Warwick University to honor a previous commitment. He travelled north and I travelled south and we met in the middle. We were paid seventeen pounds.

Fast-forward 1974-1977 and My Aim Is True

I still have the letter sent to me with the single “Less Than Zero” by an excited Declan. He’d signed to Stiff Records, the single was well reviewed and the album to follow would get five stars across the board.

His own autobiography relates in great detail to this era, so there would be no point in my covering the same ground.

Would things have panned out the same way had we stayed together?

I doubt it and I personally think that two possibilities might have happened:

1. Stiff would have seen me as the weak link as a song writer and made me change my name to Pete Best or at the very least Andrew Ridgeley.

2. I would have held him back in his dogged approach to convincing Nick Lowe and Stiff to give him that break.

Would I have played in the street outside the record company offices until I was arrested? Highly unlikely, I would have run away the moment there was a chance of any conflict.

Would I have allowed my name to be changed and a full image make-over?

I don’t think so. Stiff knew what they were doing and history has proved them right.

Back in Liverpool, I was working 7 nights a week and in one particular year did over 500 gigs. Doubles on Fridays and Saturdays and a triple every Thursday.

At least I was now comfortable enough to give up my day job and work was plentiful.

Jake Riviera, Dave Robinson And Stiff Records

Elvis Costello was now branded as the future of English rock n roll in much the same way as Springsteen had been just a few years previously.

Stiff had kept the background history of this kid Costello very much a secret.

The press had no idea where he had come from or his previous form.

I was approached by a local music magazine in Liverpool who knew exactly where he’d come from and could prove that just a few years earlier he had been playing Lindisfarne and Bob Dylan covers with some bloke called Allan Mayes.

They were also about to go to print with the full story including his real name which Stiff had incredibly still managed to keep under wraps.

After they approached me, I called the Stiff offices and left a message that I was being coerced into revealing as much of his background as I knew.

That week, Costello was on the cover of all the major music publications and was about to play his first major London date supporting Santana at the Crystal Palace Bowl.

He called me the night before the show;

‘Dave and Jake at Stiff have got your message and they want me to tell you that reveal any non authorised information to the press and legs might be broken’.

That’s a completely true story.

In recent years, I’ve reminded Dave Robinson of this story and he replied something about it being 1977 and we were all trying to be a bit punkish.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Ymaginatif »

This album seems to suffer from poor distribution?

I still haven't seen a CD version for sale for a normal EP price.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Ymaginatif wrote:I still haven't seen a CD version for sale for a normal EP price.
Presume that's 'cos all the proceeds are going to charity, ok with that.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by And No Coffee Table »

Ymaginatif wrote:This album seems to suffer from poor distribution?
Has the CD actually been released yet in the US? Amazon says it has been rescheduled to July 22.

(I was so impatient I ordered a copy from the UK at the end of May, so I haven't been watching carefully.)
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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And No Coffee Table wrote:
Ymaginatif wrote:Has the CD actually been released yet in the US? Amazon says it has been rescheduled to July 22.
I preordered mine from Amazon as soon as it came available at the non-import price, and they're telling me July 22. Which I only found out when I checked my order after not receiving it on July 1, as originally announced.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Ymaginatif »

wardo68 wrote:
And No Coffee Table wrote:
Ymaginatif wrote:Has the CD actually been released yet in the US? Amazon says it has been rescheduled to July 22.
I preordered mine from Amazon as soon as it came available at the non-import price, and they're telling me July 22. Which I only found out when I checked my order after not receiving it on July 1, as originally announced.
I can't even find a CD version of it on Amazon UK ... Is this more of these obsolete-medium-boycot shennanigans?
I could buy/play the vinyl, but £33.35 for an EP is too much fr me. (They should have recorded some more songs if they wanted to charge that for a single slice of vinyl)

Meanwhile I'm listening to the streams ... and the moment passes ...
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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sweetest punch wrote:George Harrison always maintained that turning up to a Beatles rehearsal with a new song he’d written was soul-destroying, as he felt he could never compete with John and Paul’s obvious genius. Apparently on many occasions he kept the new song stashed away in his pocket and departed without it never seeing the light of day.
There's something in the Ian McDonald book, Revolution in the Head. Can't remember it exactly, so I could be misquoting and even quoting the wrong songs. But anyway, it illustrates a point.

McDonald is trying to illustrate the difference in songwriting/recording (or possibly also the power differential in The Beatles). And he writes about George spending days and days - and 400 takes - trying to get a version of 'Not Guilty' that he's remotely happy with. Then the next morning Paul comes in and knocks off 'Come and Get It' for Badfinger - playing all the instruments himself - and after an hour he's saying 'yeah, that's fine, it's done, see you tomorrow with a new song I'll write tonight'.

As noted, that could be a misquote, bad memory or exaggeration. But just an illustration of that power-balance. Which partly occurs because one is a naturally more gifted songwriter and arranger. But also partly because one holds the reins of power in the relationship, I guess.
sweetest punch wrote:Stiff would have seen me as the weak link as a song writer and made me change my name to Pete Best or at the very least Andrew Ridgeley.
I've never been a fan of George Michael's music, and never really took a lot of interest in him as a person. But several things have emerged since his death which have changed my opinion of him. And one is that his treatment of Andrew Ridgeley is the polar opposite of the way Pete Best was treated by The Beatles.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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https://www.elviscostello.com/liverpool-f-c-and-beyond/

LIVERPOOL F.C. AND BEYOND

Some 10 years or so ago, I was reading an interview in the music press about a new Costello album. Somewhere in there it mentioned his ‘beloved Liverpool Football Club’.

What a load of nonsense I thought. Where do they get this stuff?

He’s never been to a football match in his life.

How wrong can you be?

It turns out that during the time that Rusty were playing regularly, we’d have a gig on a Saturday night. When discussing what we had spent the day doing we’d both mumble something like….

‘Worked on a new song’, ‘practiced some new chords’, ‘scoured the local record shops’.

We were in fact kidding each other, in actual fact we’d both been at Anfield at the same game singing “You’ll Never Walk Alone” and shouting obscenities at the referee.

Luckily in a crowd of 50,000 we never ran into each other.

Football culture in England in the early 70’s was not something that a teenage super-cool musician would admit to having any part of.

In the present day, he knows more about flat back fours and a high line defense than I would ever be able to comprehend.

Even as a 50 year Liverpool fan myself, I’m more likely to criticize a player’s stupid haircut than his ability to overlap the midfielder. It’s all about winning and losing, my son.

The Record That Changed My Life

On this one I’ll stick by my guns.

Mojo Magazine the highly respected U.K. music monthly ran a feature where they asked high profile musicians which record had changed their life.

Declan prattled on about Hank Williams or some such nonsense.

I wrote to Mojo and told them, ‘he’s having you on’.

If it hadn’t been for Brinsley Schwarz’s “Silver Pistol” or “Despite It All”, the whole Nick Lowe/Stiff Records thing would never have happened.

Yes, he would have always been a great and committed songwriter and performer but would he have reached that goal as quickly without hounding Nick and Jake so doggedly?

Declan, I love you like a brother, but you’ve got to give me that on
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by And No Coffee Table »

Hawksmoor wrote:
And No Coffee Table wrote:The Japanese CD will include the bonus track "Silver Minute," described as a "demo recorded at that time." (I assume that means the 1972 demo.) The release date is July 20.

https://store.universal-music.co.jp/product/uicy16089/
https://www.cdjapan.co.jp/product/UICY- ... 979c8e4d2e
Interesting. 'Recorded at the time' would certainly imply it's a 1972 demo. But unless there's another demo version of 'Silver Minute' recorded in 1972 that we never knew about before, the only one that's known to exist would need extensive restoration and clean-up work for a commercial release, surely?
It has been cleaned up a fair amount (it's definitely easier to make out the words), but it's still pretty lo-fi. The spoken bit from the end of the tape with Allan Mayes' phone number is included.
silver minute.jpg
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Amazon US now says the CD will be out on August 7. Yay.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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And my copy arrived yesterday.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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Spotted a copy of the vinyl in my local HMV this week. £37 for a six track EP is extracting the urine so I walked away... :shock:
It's not a matter of life or death. But what is, what is?
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Hawksmoor »

Psc wrote:Spotted a copy of the vinyl in my local HMV this week. £37 for a six track EP is extracting the urine so I walked away... :shock:
Depends how bothered you are about collectability and physical product. You can get (new) copies of the CD on eBay for £13, or you can download the whole thing from iTunes for £6.
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Ymaginatif
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Joined: Tue Jul 22, 2008 8:14 am
Location: Paisley Park

Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Ymaginatif »

Hawksmoor wrote:
Psc wrote:Spotted a copy of the vinyl in my local HMV this week. £37 for a six track EP is extracting the urine so I walked away... :shock:
Depends how bothered you are about collectability and physical product. You can get (new) copies of the CD on eBay for £13, or you can download the whole thing from iTunes for £6.
£13 for an EP is still too expensive.

They are charging full album prices for only half an album.
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verbal gymnastics
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Joined: Wed Jun 11, 2003 6:44 am
Location: Magic lantern land

Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by verbal gymnastics »

It always comes back to the argument that you don’t have to buy it.
Who’s this kid with his mumbo jumbo?
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