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

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

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https://twitter.com/ElvisCostello/statu ... 4851294208
Our debut spin in Leeds after 50 years. This is me and Allan Mayes in the band Rusty in 1972 in Liverpool.
Our newly recorded debut album “The Resurrection Of Rust” Available exclusively at shows. Thanks so everyone who came tonight. #rusty

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

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https://twitter.com/ElvisCostello/statu ... 7095041024
Our newly recorded debut record after 50 years. D.P. MacManus & Allan Mayes are the band Rusty - produced by Elvis Costello & Sebastian Krys

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

Post by verbal gymnastics »

This is exciting!

What’s the track listing?
Who’s this kid with his mumbo jumbo?
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Mikeh »

Surrender to the Rhythm (Lowe)
I’m Ahead if I can quit while I’m behind (Jim Ford)
Warm House (and an hour of joy) (DP Macmanus)
Don’t lose your grip on Live (Lowe)
Maureen and Sam (DP Macmanus/Allen Mayes)
Everybody knows this is Nowhere/Dance Dance Dance (Young)

Hello Verbal, how’re doing??
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

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EC confirmed the album will get a general release while responding to a fan who asked if it will be available at the Glasgow concert:

"Yes. At all appearances until the general release. Like l said, patrons from the canceled Edinburgh event will be receiving something in the post. #oyeoflittlefaith"
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by sweetest punch »

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 »

Just listened to it right through for the first time to try and get a fix on who’s doing what. All the Imposters appear to be playing on every track.

Surrender to the Rhythm (Nick Lowe): Elvis and Allan trade alternate lines on the verses and sing the chorus together.

I’m Ahead If… (Jim Ford): Allan takes lead vocal but Elvis’ backing vocals are clear and audible all the way through.

Warm House (MacManus): Elvis sings lead but backing vocals are loud and clear – sounds like more than Allan, maybe Davey’s singing on this one as well, can’t be sure.

Don’t Lose Your Grip (Nick Lowe): Mostly a duet but Elvis gets more solo lines than Allan, I think.

Maureen and Sam (MacManus/Mayes): Allan takes the lead but Elvis chimes in on a few lines. It’s very similar to Allan’s solo version on Stumbling in the Aisle (except that this is a full-band version, of course).

Everybody Knows This is Nowhere/Dance Dance Dance (Neil Young): Mostly a duet but Elvis’ vocals feel like they are mixed a little higher.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by sweetest punch »

https://pitchfork.com/news/elvis-costel ... album/amp/

Elvis Costello Reunites With First Band Rusty, Announces Debut Album

The Resurrection of Rust is the first LP from Costello and his early collaborator Allan Mayes

Before breaking out of the London pub rock scene with the Attractions, Elvis Costello—then known as D.P. MacManus—joined Allan Mayes’ Liverpool rock band Rusty in early 1972. Though the group toured extensively, they never made it into a recording studio. Now, Costello has reunited with Mayes for their debut album The Resurrection of Rust, out June 10 via EMI/Capitol. In press materials, Costello refers to the album as “the record we would have cut when we were 18, if anyone had let us.” Find Costello’s full history of Rusty below.

The LP was produced by Costello and Sebastian Krys, and features six songs drawn from Rusty’s 1972 set lists: covers of Nick Lowe’s “Surrender to the Rhythm” and “Don’t Lose Your Grip On Love,” Jim Ford’s “I’m Ahead If I Can Quit While I’m Behind,” and two originals; “Warm House” and “Maureen and Sam.” The record also includes an arrangement incorporating Neil Young’s “Everybody Knows This Is Nowhere” and “Dance, Dance, Dance.” The latter song features Costello on electric violin. The Resurrection of Rust features Costello and Mayes backed by Costello’s band the Imposters.

The album will be initially available in CD format at Costello’s current tour dates. It will be widely be available on CD June 10 (July 1 for the US), followed by vinyl release later this summer.


Elvis Costello:
In 2021, my pal and singing partner in the Liverpool clubs, Allan Mayes wrote to me from his home in Austin, Texas. He wanted to remind me that it would soon be fifty years since I joined his band, “Rusty”, just after our first meeting at a party on New Year’s Eve, 1971.

The group was then a quartet, with Allan’s school friend, Alan Brown ‐ who would play bass until he left for university later that year ‐ and there was also another vocalist called “Dave”, whose main credentials as a singer were the ownership of a microphone and tambourine. A month later, after a couple of pretty ragged gigs, Allan and I became the only vocalists and there was not a tambourine in sight. Show business is a cruel game.

We would rehearse in my bedroom in West Derby or at Allan’s house in the shadow of Walton Gaol, where his father was a medical officer, working our way through two pretty similar stacks of mostly American albums, looking for songs to sing.

Our repertoire did include a few of our own compositions ‐ lyrics written in various shades of purple ‐ but they were often put in the shade by the songs of Neil Young, Van Morrison and two Bob Dylan tunes; one made famous by The Byrds and the other co‐written, by Rick Danko of The Band. We played tunes by Randy Newman, John Martyn and the psychedelic band, Help Yourself. One of our early duets was David Crosby’s epic, “Wooden Ships” before which Allan would jokingly ask if I had my lucky rabbit’s foot about me, as I was about to venture into an unsteady guitar solo on my amplified Harmony Sovereign.

Our secret weapon was certainly a stack of Nick Lowe’s songs written for Brinsley Schwarz, which were not so very well‐known then. I think some casual listeners might have actually imagined we’d written them and I can’t say we always corrected this misapprehension but I suppose we’d acted as unpaid pitchmen for Nick by the time we met him, when the Brinsleys came to play “The Cavern”.

For the next year or so Rusty played the folk clubs and pubs on either side of the Mersey, acting as a musical interlude at poetry evenings organized by Harold and Sylvia Hikins or provided background music to nervous conversation at a lonely hearts gathering held in the RAF Club on Bold Street.

We were paid exactly nothing for playing “Mary Help Of Christians” ‐ a Catholic girls school, known locally as “Mary Feed The Pigeons” ‐ and opened up for the Natural Acoustic Band at John Lennon’s old school, Quarry Bank High and then for the Irish duo, Tir Na Nog, in the little recital room at St. George’s Hall, where Charles Dickens had once given a public reading. That show was on the eve of my rainy departure for the Bickershaw Festival at which I contracted something close to trench foot while watching the Grateful Dead in a sodden field.

We even took one fairly disastrous booking as a wedding band on Cantril Farm for which we hired a drummer and had to rescue the night with an impromptu medley of Chuck Berry songs. When teenage girls at our Friday night pub residency, in nearby Widnes, demanded the hits of Slade and T.Rex, we tried to ease their hunger for Marc Bolan with a couple of Lindisfarne songs, which were at least in the pop charts.

It was all part of learning your trade as we were certainly only earning enough money to put petrol in Allan’s Ford Anglia and, failing this, ran our own musical evenings until the club owner of “The Yankee Clipper” realized that our Tuesday night crowd only nursed one pint of beer all night and didn’t put enough in the till to pay either the barman or the electricity bill and we were sent on our way to find safer harbour at “The Temple Bar”.

Nevertheless, by the summer of ’72 we were playing up to five or six nights a week. I was still at school, supposedly studying for my A‐Levels. Once I got a job, we had to schedule our Rusty gigs around my shift work as a computer operator until early in 1973, when I decided to leave Liverpool looking for something and took to this long and crooked road. I asked if Allan wanted to come with me but I had a place to live with my Dad and he had a steady job to give up and I suppose I thought we might travel lighter and further alone.

Allan had always been the more accomplished, presentable performer ‐ even then, I looked like a sack of spuds that had been left out in the rain. He continued to play the local club circuit after I left town, took over a group he re‐named, “Restless” (formerly “Severed Head”) and even made raids down from Merseyside to hit the London pub circuit of 1975 and found themselves playing the same venue and same week as my own semi‐pro band, Flip City. Allan recorded a solo album in the early 80s before traveling the world, playing on cruise ships in the Pacific and in oil worker bars in Alaska, before settling in Texas, where he still plays other people’s songs that other people want to hear in a strong true voice.

Allan Mayes has been a hard working musician for more than the fifty years since we met. So, when he asked me if I wanted to celebrate this anniversary by getting together to play a few songs that we used to know. I said, “Absolutely not!” “Let’s make the record we would have cut when we were 18, if anyone had let us”. And this is what you will hear on The Resurrection of Rust.

The EP contains new renditions of songs from our 1972 club repertoire; our duets on two Nick Lowe tunes from 1972; “Surrender to the Rhythm” and “Don’t Lose Your Grip on Love”‐ and closes with an arrangement incorporating Neil Young’s “Everybody Knows This Is Nowhere” and “Dance, Dance, Dance” which marks my recording debut on the electric violin.

The stand out for me is Allan’s touching rendition of “I’m Ahead If I Can Quit While I’m Behind”, a song written by the Kentucky songwriter, Jim Ford, who wrote hits for Aretha Franklin, P.J. Proby and Bobby Womack.

Most of our own early compositions from the Rusty days exist only in lyrical form, scrawled in our old notebooks, the tunes long forgotten but we did have a reel‐to‐reel demo of “Warm House”, a song which I began when I was 17 and which could be found in nearly all of our set lists and found here with full vocal and band arrangement driven by mandolin.

Remarkably, Allan still has an old school exercise book in which he kept a record of all the venues we ever played. “The Resurrection Of Rust” record sleeve is decorated with a collage of flyers, posters, playbills and diary entries of the time along with some of our setlist from that exercise book which also acted as an accounts ledger for our rather modest earnings, hitting the heady heights of £17 ‐ our largest fee coming at our very final gig, opening up for Cockney Rebel ‐ but frequently amounting to no more than a couple of quid and with several dispiriting entries which read: “Paid: Nil”.

The second original tune is a co‐written portrait of a struggling cabaret act called, “Maureen and Sam”, the verses are taken by Allan with very spare accompaniment before I arrive in the bridges with a distorted electric guitar, piano, bass and drums, all of which I recorded in the basement of Sentry Sound.

Keen listeners may recognize the theme of this song as one I re‐wrote as “Ghost Train” and recorded in 1980, changing “Sam” to “Stan” and setting my new lyric to an entirely different melody. Allan and I quickly re‐discovered the vocal blend that convinced us that we might conquer the world (or at least Widnes) when we were teenagers but to bring Rusty into the 21st Century, I enlisted the talents of The Imposters and we were delighted to invite our old pal, Bob Andrews, to revisit his signature Hammond organ and piano parts on the Brinsley Schwarz showstopper, “Surrender To The Rhythm”.

Like most things today, these sessions connected Sentry Sound, Vancouver with Austin, TX, Santa Fe, NM and Los Angeles, CA by the magic of the musical telegraph.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Man out of Time »

Chris Willman writes for Variety about the new album...

Elvis Costello Reforms His First Band, From 1972, for New Record

Earlier this year, Elvis Costello released an album titled “The Boy Named If.” Now, as a follow-up, he’s putting out an EP of songs that really were conceived or covered when he was a boy.

His first band, in 1972, was called Rusty, and now he and another principal from that group, Allan Mayes, have joined forces to record and release the very first Rusty EP — or, as Costello says of it, “the record we would have cut when we were 18, if anyone had let us.”

The six-song release, “The Resurrection of Rust,” is already being released, exclusively for now, at Costello’s tour stops in the U.K.; it showed up at his merch table Sunday night in Leeds, much to the puzzlement of fans who wondered what a “Rust” was. It comes out for everyone else on June 10, digitally and on CD in territories except the U.S.; July 1, on CD in the U.S.; and on vinyl worldwide later in the summer.

Aside from Mayes, much of the lineup on the new recording is familiar: Costello’s current band the Imposters provides the instrumental support, his current producer Sebastian Krys fulfills that duty on this throwback record as well, and the label is Capitol/EMI. But the track list is strictly 1972-vintage.

The selections, drawn from Rust’s 1972 set lists, include two Nick Lowe/Brinsley Schwarz tunes of the era (“Surrender to the Rhythm” and “Don’t Lose Your Grip on Love”); a medley of two Neil Young songs (“Everybody Knows This is Nowhere” and “Dance, Dance, Dance”); a tune from Kentucky songwriter Jim Ford (““I’m Ahead If I Can Quit While I’m Behind”), one 1971 original written solely by Costello (“Warm House,” penned when he was still D.P. MacManus); and one more original co-written by Costello/MacManus and Mayes (“Maureen and Sam,” with mutual lead vocals as well).

Costello became a member of Rusty on New Year’s Day 1972, and the group, then a quartet, played dozens of gigs, mostly in Liverpool clubs, during the subsequent year. But the band never booked any studio time — until this impromptu 50th anniversary mini-resumption.

It was suggested by Costello that it was by no means certain when they split that he would become the star, out of the two. “Allan had always been the more accomplished, presentable performer — even then, I looked like a sack of spuds that had been left out in the rain,” Costello wrote in a statement explaining the nature of the record.

Costello said that Mayes, who now lives in Austin, Texas, wrote him last year to tell him that the 50th anniversary of their time together was nigh.

“So, when he asked me if I wanted to celebrate this anniversary by getting together to play a few songs that we used to know, I said, ‘Absolutely not!… Let’s make the record we would have cut when we were 18, if anyone had let us.’ And this is what you will hear on ‘The Resurrection Of Rust.'”

It would be another five years after the brief underground glory of Rust before Costello cut his first proper record, “My Aim is True,” in 1977, and formed the Attractions shortly afterward, soon to take the world by storm with a much more frantic sound than the relaxed one of Rust.


The situation is slightly akin to that of Mudcrutch, the early ’70s band of Tom Petty that got back together in 2007 to finally record a debut album and tour. Although three of the Mudcrutch members were also part of Tom Petty and the Heartbreakers, the two albums they released before Petty’s death gave a brief, belated turn in the spotlight to Randall Marsh and Tom Leadon, much as this Rust release is doing for Costello’s ex-partner Mayes.

Read Costello’s version of how the old “band” got back together:

In 2021, my pal and singing partner in the Liverpool clubs, Allan Mayes, wrote to me from his home in Austin, Texas.

He wanted to remind me that it would soon be 50 years since I joined his band, “Rusty,” just after our first meeting at a party on New Year’s Eve, 1971.

The group was then a quartet, with Allan’s school friend, Alan Brown ‐ who would play bass until he left for university later that year ‐ and there was also another vocalist called “Dave,” whose main credentials as a singer were the ownership of a microphone and tambourine.

A month later, after a couple of pretty ragged gigs, Allan and I became the only vocalists and there was not a tambourine in sight.

Show business is a cruel game.

We would rehearse in my bedroom in West Derby or at Allan’s house in the shadow of Walton Gaol, where his father was a medical officer, working our way through two pretty similar stacks of mostly American albums, looking for songs to sing.

Our repertoire did include a few of our own compositions ‐ lyrics written in various shades of purple ‐ but they were often put in the shade by the songs of Neil Young, Van Morrison and two Bob Dylan tunes; one made famous by the Byrds and the other co‐written by Rick Danko of the Band. We played tunes by Randy Newman, John Martyn and the psychedelic band Help Yourself.

One of our early duets was David Crosby’s epic “Wooden Ships,” before which Allan would jokingly ask if I had my lucky rabbit’s foot about me, as I was about to venture into an unsteady guitar solo on my amplified Harmony Sovereign.

Our secret weapon was certainly a stack of Nick Lowe’s songs written for Brinsley Schwarz, which were not so very well‐known then. I think some casual listeners might have actually imagined we’d written them and I can’t say we always corrected this misapprehension but I suppose we’d acted as unpaid pitchmen for Nick by the time we met him, when the Brinsleys came to play “The Cavern.”

For the next year or so Rusty played the folk clubs and pubs on either side of the Mersey, acting as a musical interlude at poetry evenings organized by Harold and Sylvia Hikins or provided background music to nervous conversation at a lonely hearts gathering held in the RAF Club on Bold Street.

We were paid exactly nothing for playing “Mary Help Of Christians” ‐ a Catholic girls school, known locally as “Mary Feed The Pigeons” ‐ and opened up for the Natural Acoustic Band at John Lennon’s old school, Quarry Bank High, and then for the Irish duo, Tir Na Nog, in the little recital room at St. George’s Hall, where Charles Dickens had once given a public reading. That show was on the eve of my rainy departure for the Bickershaw Festival at which I contracted something close to trench foot while watching the Grateful Dead in a sodden field.

We even took one fairly disastrous booking as a wedding band on Cantril Farm for which we hired a drummer and had to rescue the night with an impromptu medley of Chuck Berry songs.

When teenage girls at our Friday night pub residency, in nearby Widnes, demanded the hits of Slade and T. Rex, we tried to ease their hunger for Marc Bolan with a couple of Lindisfarne songs, which were at least in the pop charts.

It was all part of learning your trade as we were certainly only earning enough money to put petrol in Allan’s Ford Anglia and, failing this, ran our own musical evenings until the club owner of “The Yankee Clipper” realized that our Tuesday night crowd only nursed one pint of beer all night and didn’t put enough in the till to pay either the barman or the electricity bill and we were sent on our way to find safer harbour at “The Temple Bar.”

Nevertheless, by the summer of ’72 we were playing up to five or six nights a week. I was still at school, supposedly studying for my A‐Levels. Once I got a job, we had to schedule our Rusty gigs around my shift work as a computer operator until early in 1973, when I decided to leave Liverpool looking for something and took to this long and crooked road.

I asked if Allan wanted to come with me but I had a place to live with my Dad and he had a steady job to give up and I suppose I thought we might travel lighter and further alone.

Allan had always been the more accomplished, presentable performer ‐ even then, I looked like a sack of spuds that had been left out in the rain. He continued to play the local club circuit after I left town, took over a group he re‐named, “Restless” (formerly “Severed Head”) and even made raids down from Merseyside to hit the London pub circuit of 1975 and found themselves playing the same venue and same week as my own semi‐pro band, Flip City. Allan recorded a solo album in the early 80s before traveling the world, playing on cruise ships in the Pacific and in oil worker bars in Alaska, before settling in Texas, where he still plays other people’s songs that other people want to hear in a strong true voice.


Allan Mayes has been a hard working musician for more than the fifty years since we met.

So, when he asked me if I wanted to celebrate this anniversary by getting together to play a few songs that we used to know.

I said, “Absolutely not!”

“Let’s make the record we would have cut when we were 18, if anyone had let us”.

And this is what you will hear on “The Resurrection Of Rust”.

The E.P. contains new renditions of songs from our 1972 club repertoire; our duets on two Nick Lowe tunes from 1972; “Surrender To The Rhythm” and “Don’t Lose Your Grip On Love”‐ and closes with an arrangement incorporating Neil Young’s “Everybody Knows This Is Nowhere” and “Dance, Dance, Dance” which marks my recording debut on the electric violin.

The stand out for me is Allan’s touching rendition of “I’m Ahead If I Can Quit While I’m Behind”, a song written by the Kentucky songwriter, Jim Ford, who wrote hits for Aretha Franklin, P.J. Proby and Bobby Womack.

Most of our own early compositions from the Rusty days exist only in lyrical form, scrawled in our old notebooks, the tunes long forgotten but we did have a reel‐to‐reel demo of “Warm House”, a song which I began when I was 17 and which could be found in nearly all of our set lists and found here with full vocal and band arrangement driven by mandolin.

Remarkably, Allan still has an old school exercise book in which he kept a record of all the venues we ever played. “The Resurrection Of Rust” record sleeve is decorated with a collage of flyers, posters, playbills and diary entries of the time along with some of our setlist from that exercise book which also acted as an accounts ledger for our rather modest earnings, hitting the heady heights of £17 ‐ our largest fee coming at our very final gig, opening up for Cockney Rebel ‐ but frequently amounting to no more than a couple of quid and with several dispiriting entries which read: “Paid: Nil”.

The second original tune is a co‐written portrait of a struggling cabaret act called, “Maureen and Sam”, the verses are taken by Allan with very spare accompaniment before I arrive in the bridges with a distorted electric guitar, piano, bass and drums, all of which I recorded in the basement of Sentry Sound.

Keen listeners may recognize the theme of this song as one I re‐wrote as “Ghost Train” and recorded in 1980, changing “Sam” to “Stan” and setting my new lyric to an entirely different melody.

Allan and I quickly re‐discovered the vocal blend that convinced us that we might conquer the world (or at least Widnes) when we were teenagers but to bring Rusty into the 21st Century, I enlisted the talents of The Imposters and we were delighted to invite our old pal, Bob Andrews, to revisit his signature Hammond organ and piano parts on the Brinsley Schwarz showstopper, “Surrender To The Rhythm”.

Like most things today, these sessions connected Sentry Sound, Vancouver with Austin, TX, Santa Fe, NM and Los Angeles, CA by the magic of the musical telegraph.


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

Post by bronxapostle »

Truly incredible...EC as always, ever unpredictable and full of surprises.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by verbal gymnastics »

Absolutely - that’s exactly what I thought.
Who’s this kid with his mumbo jumbo?
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Hawksmoor »

bronxapostle wrote:Truly incredible...EC as always, ever unpredictable and full of surprises.
Last night (Leeds) he also referred to the PFM thing. He said he's not sure when it's coming out (probably 'later this year') but he talked about it as if it's not just a reissue of PFM with a couple of new tracks - can't remember the words he used, but it felt like some kind of fairly extensive set is on the cards.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by johnfoyle »

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

Post by Hawksmoor »

So it looks like the general release has been pulled forward from September to 10th June anyway? Hence the prospective thrill of buying it at a gig and feeling you were stealing a few months on everybody else has somewhat evaporated. :D
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Hawksmoor »

Just to add...regardless of whatever we think about the logistics of this LP's announcement, release and availability, it's a great record, isn't it? It pulls off the neat trick of being very obviously an EC and the Imposters record made in 2021/2022, but at the same time, sounding like the record some teenagers in a pub band might have made in 1972.

OK, it's a tangent/side-project, and it's never going to punch its weight with Imperial Bedroom or King of America as a 'major achievement'. But it's still brilliantly performed, superbly recorded, and above all, bloody good fun. And as 40+ years of experience have taught us, his detours, tangents and side-projects can be as enjoyable and as entertaining as his 'proper' LPs. Long may that continue.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Ymaginatif »

Looking forward to hear it! one day ...
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Hawksmoor »

Ymaginatif wrote:Looking forward to hear it! one day...
Well, in eight days, apparently. If general release has now been pulled forward to 10th June, I assume it will appear on Spotify and iTunes on the same date? Several online retailers are advertising it as already available to order. So one way or another, I don't think you'll have to wait more than a week or so. :)

https://www.amazon.com/dp/B09YL2TSZR/?tag=imwan-20

https://www.horizonsmusic.co.uk/product ... ag_organic

https://www.banquetrecords.com/rusty/th ... /EMICD2065

The only remaining uncertainty is (a) whether there will ultimately be a deluxe/expanded vinyl edition; and/or (b) how the current 'world shortage of vinyl' might affect the release date for that.

I suppose it's a bit of a shame that (what appears to have been) Elvis' plan to drop this as a complete surprise, and have it only available at the merch stall for a few weeks, has somewhat fizzled out. But that's the blessing/curse of the internet age, isn't it? 'There won't be any cute secrets, let alone any novelty'.
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by verbal gymnastics »

It’s due to popular demand!
Who’s this kid with his mumbo jumbo?
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by And No Coffee Table »

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

Post by Hawksmoor »

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

Post by sweetest punch »

Amazon.com and amazon.de have the 12” vinyl for pre-order, available on July 22:

https://www.amazon.com/Resurrection-Rus ... 159&sr=8-7

https://www.amazon.de/-/nl/dp/B0B1HKCL2 ... 066&sr=8-4
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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Man out of Time
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by Man out of Time »

Anyone attending the UK Tour dates over the next few weeks may be interested to know that the merchandise stall at the Brighton Dome show last night was selling copies (unsigned) of The Resurrection Of Rust for £15. The bad news is that they sold out of copies before the show ended.
Hopefully there will be more copies available at each show on the tour.

Also "Surrender To The Rhythm" was played just before EC and The Imposters took the stage.

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

Post by Hawksmoor »

Man out of Time wrote:Anyone attending the UK Tour dates over the next few weeks may be interested to know that the merchandise stall at the Brighton Dome show last night was selling copies (unsigned) of The Resurrection Of Rust for £15...
£12:99 on the first night at Brudenell Social Club in Leeds. Maybe they spotted how well it was selling and racked the price up a couple of quid. 'You know what, I reckon people would pay £15 for this, they're going like hot cakes tonight...' :D
sweetest punch
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by sweetest punch »

https://ultimateclassicrock.com/rusty-t ... um-review/

RUSTY, ‘THE RESURRECTION OF RUST': ALBUM REVIEW

Sentimental is not the first word that comes to mind when you consider Elvis Costello - at least not as immediately as terms like, oh, acerbic or biting. But on The Resurrection of Rust, he's indeed looking back, fondly and warmly, at his past.

The Rust in question is Rusty, a Liverpool band Costello played in 50 years ago with fellow singer and songwriter Allan Mayes, who now resides in Texas. The group, according to Costello's notes, was playing up to five or six nights a week during the summer of 1972, tossing some originals into sets that included mutually favored songs by Bob Dylan, Neil Young, Van Morrison, Randy Newman and others, as well as Brinsley Schwarz, a Costello (then D.P. MacManus) favorite.

Rusty broke up during 1973 when Costello moved to London, but its 50th anniversary has spurred him and Mayes to "make the record we would have cut when we were 18 if anyone had let us." And while it's hard to know quite what those aspiring teenagers would have sounded like at that point, the results on The Resurrection of Rust make you wish that someone had. There's an easy kind of shorthand in the way Costello and Mayes sing with each other on the six-track EP, but don't for a minute think it's some casual toss off. They're serious enough about it that Costello enlisted his band, the Imposters, to be part of The Resurrection, while Brinsley Schwarz (and later Graham Parker & the Rumour) keyboardist Bob Andrews recreates his Hammond organ and piano parts on the former's "Surrender to the Rhythm."

Resurrection goes by quick and easy but has you paying attention every second of its 24 minutes. Costello and Mays make faithful, short work of another Schwarz favorite, the soulful "Don't Lose Your Grip on Love," while Mayes' vocal on Jim Ford's "I'm Ahead if I Can Quit While I'm Behind" is a muscular showstopper. The troupe is similarly tight and twangy on a pairing of Neil Young's "Everybody Knows This Is Nowhere" and "Dance, Dance, Dance," with Costello playing electric violin for the first time on a recording. Of equal interest, meanwhile, is a pair of Rusty originals drawn from notebooks and the odd demo reel that Costello and Mayes kept from the time. "Warm House" sounds like a Merseybeat-Americana summit meeting, with rich, Hollies-like harmonies and a mandolin break. "Maureen & Sam" is a whole other matter, a dramatic piece of aural theater about an aspiring cabaret act in need of some TLC - and, Costello notes, was source material for his own "Ghost Train" in 1980.

Resurrection is indeed a curio in Costello's catalog, but a nice one. His, and Mayes', investment is audible throughout the set, and it's a welcome glimpse - including some vintage photos in the package - into the modest yet still ambitious roots of the earth-shaking work that lay ahead.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
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Joined: Sat Apr 03, 2004 5:49 am
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Re: "The Resurrection of Rust" - 2022 album by Rusty (EC & Allan Mayes)

Post by sweetest punch »

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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