New Rhino bonus tracks revealed! (AB/GCW/KV)
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Listening to the GCW disc2....I'm thinking that some of the alt. versions would be great if they ever made a Goodbye Cruel World (naked) without some of the production sounds of the original (apart from Love field, Peace in our time, and a few others which sound fine with the production IMHO).
Hmm, maybe I could burn myself up a version and see what it plays like.
Hmm, maybe I could burn myself up a version and see what it plays like.
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http://www.amazon.de has august 24 as an (european) releasedate. Guess it will be available around the same time in the UK.Danny wrote:Has anyone seen Kojak Variety on sale yet? I've ordered the other two, but can't find this one anywhere!
The AB linernotes say that Emmylou Harris will sing Heart Shaped Bruise on the new CD.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
EC did an absolutely spellbinding version of "He's Got You" during the English Mugs tour as a sort of AB preview. Hope the "lost session" is half as good!
http://www.forwardtoyesterday.com -- Where "hopelessly dated" is a compliment!
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- so lacklustre
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Got the GCW & AB reissues yesterday. Been busy so only listened to AB bonus disc which is damn fine in my book. I'm not a big bootleg person and neither do I time each track to the second so I'm happier than some. The live stuff is particularly great, especially Motel Matches and I'm aleays a sucker for another version of Girls Talk.
signed with love and vicious kisses
- Otis Westinghouse
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Me too, and have been enjoying my first ever copy of Almost Blue. And the range of stuff on the bonus seems perfect. I love the idea of recording with his pal's new father-in-law on 'the Feast of St Stephen'. I can't get enough of Psycho. Great song, and it suits him so well.
There's more to life than books, you know, but not much more
- so lacklustre
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I finally got the GCW re-issue today.
Elvis' sleevenotes are , as usual , well written and
tell their tale well. As he admits himself time has
afforded him an opportunity to be a little kinder
about it than his notes with the last re-issue. He is
also much more specifc in how his personal life
inspired the album , his marriage break-up etc. Indeed
one would almost think that Elvis is taking some
offensive action in anticipation of an account of that
period in his life that is due to appear in one of the
biographies later this year.
A detail in the credits had me thinking Elvis
was still carrying on his Bruce Thomas bashing. After
Bruce's listing we read - 'bass guitar I suppose'.
However I've just looked at the sleeve of the 1995
re-issue and I see that the same line appears there
also. Hmmmm.....
Here are some highlights from the 'notes -
'While recording Imperial Bedroom, Paul McCartsey was
down the corridor making Tug Of War. When we returned
to AIR to begin Punch The Clock, Paul was back making
Pipes Of Peace (with Michael Jackson popping in for
his guest socals), with The Jam in the middle studio
cutting “Precious”, and Alice Cooper mixing an album
in another suite. You didn’t always become friends
with the other artists, but you might nod to each
other on the way to the coffee machine and start up a
consersation. When Duran Duran had been at AIR, I
remember Simon LeBon telling me, over a game of pool,
that they were off to Sri Lanka the following morning
to make a “video on a boat” and that he envisaged a
time when they would make the films first and fit the
music to them later, It is an idea that has surely
found its time.
While mixing at Genetic Studios, outside London, we
were adjacent to the Human League making Hysteria, the
follow-up to Dare, and the previous year the
Buzzcocks’ Pete Shelley making his solo album XLI.
Boffins cluttered up the hallway, developing a
primitive computer programme that was to be pressed
onto the last track of the album, With my usual
flawless powers of clairvoyance, I thought, That’ll
never catch on.'
------------------------------------------------------
'The final piece of this album is the song “Peace In
Our Time”. For years, I’ve regarded this composition
as being rather too self conscious in its attempt to
follow on with a commentary begun with the songs
“Shipbuilding” and “Pills And Soap”. Indeed, the track
was unsuccessfully released as another “Imposter”
single and performed in the U.S. on the NBC Tonight
Show, making little or no impression on the audience.
It certainly didn’t take a shy or modest view of the
subject matter, opening with reference to the Munich
Agreement and postwar European alliances and
continuing into a second verse that talks about Cold
War blacklists and has an atomic scientist doubting
his handiwork.
The song does have a pretty melody that was inspired
by Paul Simon’s “Rene And Georgette Magritte With
Their Dog After The War” and the record concludes with
a beautifully played trombone solo by Big Jim Paterson
on a theme of mine entitled “World Without End”.
Although I once referred to the song as being a “relic
from the days of nuclear dread”, some of its lines
seem sadly to be coming into their time once again.
Though the last verse refers to then current events:
the invasion of Grenada, the conflict in the Falkland
Islands, one of the Rocky films, and the Presidential
candidacy of the astronaut John Glenn, their
counterparts can easily be found in today’s headlines.
If I were to sing this song today, the final lines
the appearance of a moral and intellectual vacuum, a
mere pitchman for the company store that has ruled
America on and off for the last 60 years. An
illegitimate authority that is aloof and apparently
contemptuous of the general decency of the very people
it purports to represent.
Politicians and their apologists in the media often
patronize musicians and other artists. We are
supposedly naïve and don’t understand the cruel and
cold realities of the world. Then again we are not the
ones who have provoked or underwritten countless
military confrontations and hypocritically promoted
global instability through fear, in the guise of
defending freedom, justice, and corporate profit. The
only difference in those they oppose being a
willingness to glory in a relationship with evil that
goes undisguised.
Writing in late spring of ‘04, the title of this piece
seems a more distant prospect than ever. I have to
hope that this flawed song doesn’t sound like a sick
joke by November. '
-------------------------------------------------------
As for the music - the extra disc is playing for
the first time as I write and I found myself stopping
when the 'Joe Porterhouse' demo came on - very direct
, very real.
More tomorrow , beach and sun allowing.
Elvis' sleevenotes are , as usual , well written and
tell their tale well. As he admits himself time has
afforded him an opportunity to be a little kinder
about it than his notes with the last re-issue. He is
also much more specifc in how his personal life
inspired the album , his marriage break-up etc. Indeed
one would almost think that Elvis is taking some
offensive action in anticipation of an account of that
period in his life that is due to appear in one of the
biographies later this year.
A detail in the credits had me thinking Elvis
was still carrying on his Bruce Thomas bashing. After
Bruce's listing we read - 'bass guitar I suppose'.
However I've just looked at the sleeve of the 1995
re-issue and I see that the same line appears there
also. Hmmmm.....
Here are some highlights from the 'notes -
'While recording Imperial Bedroom, Paul McCartsey was
down the corridor making Tug Of War. When we returned
to AIR to begin Punch The Clock, Paul was back making
Pipes Of Peace (with Michael Jackson popping in for
his guest socals), with The Jam in the middle studio
cutting “Precious”, and Alice Cooper mixing an album
in another suite. You didn’t always become friends
with the other artists, but you might nod to each
other on the way to the coffee machine and start up a
consersation. When Duran Duran had been at AIR, I
remember Simon LeBon telling me, over a game of pool,
that they were off to Sri Lanka the following morning
to make a “video on a boat” and that he envisaged a
time when they would make the films first and fit the
music to them later, It is an idea that has surely
found its time.
While mixing at Genetic Studios, outside London, we
were adjacent to the Human League making Hysteria, the
follow-up to Dare, and the previous year the
Buzzcocks’ Pete Shelley making his solo album XLI.
Boffins cluttered up the hallway, developing a
primitive computer programme that was to be pressed
onto the last track of the album, With my usual
flawless powers of clairvoyance, I thought, That’ll
never catch on.'
------------------------------------------------------
'The final piece of this album is the song “Peace In
Our Time”. For years, I’ve regarded this composition
as being rather too self conscious in its attempt to
follow on with a commentary begun with the songs
“Shipbuilding” and “Pills And Soap”. Indeed, the track
was unsuccessfully released as another “Imposter”
single and performed in the U.S. on the NBC Tonight
Show, making little or no impression on the audience.
It certainly didn’t take a shy or modest view of the
subject matter, opening with reference to the Munich
Agreement and postwar European alliances and
continuing into a second verse that talks about Cold
War blacklists and has an atomic scientist doubting
his handiwork.
The song does have a pretty melody that was inspired
by Paul Simon’s “Rene And Georgette Magritte With
Their Dog After The War” and the record concludes with
a beautifully played trombone solo by Big Jim Paterson
on a theme of mine entitled “World Without End”.
Although I once referred to the song as being a “relic
from the days of nuclear dread”, some of its lines
seem sadly to be coming into their time once again.
Though the last verse refers to then current events:
the invasion of Grenada, the conflict in the Falkland
Islands, one of the Rocky films, and the Presidential
candidacy of the astronaut John Glenn, their
counterparts can easily be found in today’s headlines.
If I were to sing this song today, the final lines
the appearance of a moral and intellectual vacuum, a
mere pitchman for the company store that has ruled
America on and off for the last 60 years. An
illegitimate authority that is aloof and apparently
contemptuous of the general decency of the very people
it purports to represent.
Politicians and their apologists in the media often
patronize musicians and other artists. We are
supposedly naïve and don’t understand the cruel and
cold realities of the world. Then again we are not the
ones who have provoked or underwritten countless
military confrontations and hypocritically promoted
global instability through fear, in the guise of
defending freedom, justice, and corporate profit. The
only difference in those they oppose being a
willingness to glory in a relationship with evil that
goes undisguised.
Writing in late spring of ‘04, the title of this piece
seems a more distant prospect than ever. I have to
hope that this flawed song doesn’t sound like a sick
joke by November. '
-------------------------------------------------------
As for the music - the extra disc is playing for
the first time as I write and I found myself stopping
when the 'Joe Porterhouse' demo came on - very direct
, very real.
More tomorrow , beach and sun allowing.
-
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- And No Coffee Table
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You may be joking, but just in case...laughingcrow wrote:He didn't really write anything about Steve not being on the album...why?
Steve is on Goodbye Cruel World, but he uses the pseudonym Maurice Worm.
I've seen some people suggest he used the pseudonym because he was embarrassed by the album, but I've never really been convinced it was anything more than a joke.
- Otis Westinghouse
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Just got back from Fuji Rock Festival and, still carrying my camping gear and 4 days of mud, sweat and beard, went to Tower Records in Shibuya (Tokyo) to buy all 3 re-releases. Guess who should be browsing the vinyl section - none other than The White Stripes' Meg White. " Hi there" I said "but didn't I see you on stage last night ?". She looked genuinely surprised to be recognised, and was as shy in person as she is on stage. I chatted to her for a couple of minutes, thanked her for a great show, and wished her well for her remaining days in Japan.
I then went straight home to play the 2nd disc of Almost Blue. Fascinating sleeve notes, and a really great, great bonus disk. Next up, Kojak Variety.
I then went straight home to play the 2nd disc of Almost Blue. Fascinating sleeve notes, and a really great, great bonus disk. Next up, Kojak Variety.
- Otis Westinghouse
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Why is it that the casing of AB is fine, but that of GCW is crap: both CDs are loose due to snapped off plastic teeth that are meant to hold then in place. I fear I will open it up one day and snap CD2 as it rolls around in the back of the case.
There's more to life than books, you know, but not much more
Sounds like you got a bad batch Otis -- I learned the hard way in years past to gently shake the case before heading to the register. If you ordered yours online, perhaps you can complain to the shipper.Otis Westinghouse wrote:Why is it that the casing of AB is fine, but that of GCW is crap: both CDs are loose due to snapped off plastic teeth that are meant to hold then in place. I fear I will open it up one day and snap CD2 as it rolls around in the back of the case.
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Trainspotting note:
The version of GET YOURSELF ANOTHER FOOL on this re-issue marks the cd debut anywhere of the originally released version of this track, i.e it has the echoed vocal track. Along with the full version of I'm Your Toy on the AB bonus disc, it's good to see someone paid attention to detail this time around.
The version of GET YOURSELF ANOTHER FOOL on this re-issue marks the cd debut anywhere of the originally released version of this track, i.e it has the echoed vocal track. Along with the full version of I'm Your Toy on the AB bonus disc, it's good to see someone paid attention to detail this time around.
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http://groups.google.ie/groups?dq=&hl=e ... s-costello
Neil Kearsley writes -
I skimmed through Q magazine at the supermarket
tonight, knowing that the
latest round of re-issues would be reviewed within.
Imagine my astonishment
to see that Goodbye Cruel World 2 disc set has been
given 4 (yes 4!) out of
5 stars! They state & I quote "Goodbye Cruel World
has aged remarkably
well". Considering that when the original 1 disc
re-issue came out they
gave it a 1 star review (despite all the downright
terrific extra tracks)
this is a bit of a turn around & means they rate it at
the same level as
Trust, MAIT, TYM & AF (which it quite honestly isn't).
IMHO, GCW as I first heard it (the expanded ryko
re-issue) was never as bad
as people made out. I always preferred it to it's
predecessor. The new
version, or at least disc two, is genuinely very good.
It kinda makes you
weep to think what this album might have been had EC
not been in a perverse
mood, had Nick Lowe or Geoff Emerick produced it. MY
only gripe is the
absence of the excellent demo of Deportee from the
Ryko version.
Neil Kearsley writes -
I skimmed through Q magazine at the supermarket
tonight, knowing that the
latest round of re-issues would be reviewed within.
Imagine my astonishment
to see that Goodbye Cruel World 2 disc set has been
given 4 (yes 4!) out of
5 stars! They state & I quote "Goodbye Cruel World
has aged remarkably
well". Considering that when the original 1 disc
re-issue came out they
gave it a 1 star review (despite all the downright
terrific extra tracks)
this is a bit of a turn around & means they rate it at
the same level as
Trust, MAIT, TYM & AF (which it quite honestly isn't).
IMHO, GCW as I first heard it (the expanded ryko
re-issue) was never as bad
as people made out. I always preferred it to it's
predecessor. The new
version, or at least disc two, is genuinely very good.
It kinda makes you
weep to think what this album might have been had EC
not been in a perverse
mood, had Nick Lowe or Geoff Emerick produced it. MY
only gripe is the
absence of the excellent demo of Deportee from the
Ryko version.
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- TheImposter
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