My Flame Burns Blue - vinyl debut on BLUE VINYL , June 2016

Pretty self-explanatory
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Postby johnfoyle » Mon Mar 06, 2006 3:16 am

http://www.abc.es/abc/pg060305/prensa/n ... YL-146.asp

lunes 6 de marzo de 2006

EDICIÓN IMPRESA - Cástilla y León

«My flame burns blue», grabado en vivo en La Haya, muestra al Elvis Costello más intelectual

En el disco, que sale mañana a la venta, el cantante y compositor británico está acompañado por la Metropole Orkest, que hace las veces de elegante big band

PABLO MARTÍNEZ PITA

MADRID. Si ya resulta habitual que selectas discográficas de jazz incorporen en sus filas a artistas cada vez más alejados de las esencias de este estilo, es ahora la renombrada y reputada Deutsch Grammophon la que abre su catálogo para que se cuele, por ejemplo, Elvis Costello. Aunque claro, tampoco se trata de un músico estrictamente pop. Hace ya mucho tiempo que su obra desbordó estas cómodas lindes.

En «My flame burns blue», grabado en vivo, el cantante y compositor británico se mete en la piel de un «crooner» con aires de intelectual y ponerse delante de una orquesta. El acontecimiento tuvo lugar en La Haya, durante el Festival de Jazz del Mar del Norte de 2004, uno de los más importantes de Europa. Al fin y al cabo, es el jazz el género que con más frecuencia tiende puentes entre fronteras estilísticas.

Insignes personajes

Allí se presentó acompañado de la Metropole Orkest, que hacía las veces de elegante big band para poner el fondo majestuoso a su peculiar voz. Él mismo es el autor de casi todas las canciones del disco, aunque también ha incluido un tema de Charles Mingus -«Hora Decubitus», a la que ha puesto letra-, y en otro comparte trabajo con uno de los más grandes conocedores del medio musical en el que se desenvuelve el álbum, Burt Bacharah.

No es la primera vez que ambos nombres aparecen juntos. En 1978, el autor de «This year´s model» quiso rendir homenaje a su admirado Bacharah con una versión de «I just don´t know what to do with myself». Más tarde, en 1998, grabaron al alimón un álbum completo, «Painted from memory», cuyo resultado fue el único que podía esperarse: excelente.

También hay insignes personajes entre los encargados, junto al propio autor, de los arreglos, como son Sy Johnson, Bill Frisell, Vince Mendoza y Steve Nieve. «My flame burns blue», que sale a la venta mañana, contiene además, como regalo, la suite «Il sogno», que representó la primera incursión de Costello en la música orquestal. Fue un encargo del ballet Alterballetto, cuyo coreógrafo es Mauro Bigonzetti, y su grabación tuvo lugar en el año 2002 por la Orquesta Sinfónica de Londres.

La discografía de Elvis Costello resulta única y sorprendente. La búsqueda de la complejidad armónica ha sido una constante en su trabajo, sabe lo que es trabajar con The Brodsky Quartety o la mezzosoprano Anne Sofie von Otter; la sobriedad de la puesta en escena de sus álbumes dista mucho de la algarabía de un concierto rock, como hemos podido comprobar en España merced a sus frecuentes visitas, sobre todo en los últimos tiempos; incluso dirigió en Copenhague su propia ópera, titulada «Las arias secretas», sumándose a otros autores como Franco Battiato o Roger Waters, que también se han lanzado a tan arriesgada empresa compositiva.

Se trata de un músico para el que los límites son cosa de risa, ya que nada le impide saltar del rock al jazz (guiando en ocasiones, y con buen criterio, los pasos de su mujer, Diana Krall), de la clásica al rock, del folk al cabaret... Costello continúa escribiendo una de las páginas más brillantes de la música actual.

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Google trans.


Monday 6 of March of 2006

"My flame burns blue", recorded live in Is It, shows the Elvis more intellectual Costello In the disc, that leaves tomorrow on sale, the singer and British composer is accompanied by the Metropole Orkest, that does the times of elegant big band

PABLO MARTINEZ PITA


If he already is habitual that discográficas selections of jazz incorporate in their rows to artists more and more moved away of the essences of this style, she is now the famous one and reputed Deutsch Grammophon the one that opens its catalogue so that it strains itself, for example, Elvis Costello. Although sure one is not a strictly pop musician either. For already long time that its work overflowed these comfortable ones you have been being contiguous. In "My flame burns blue", recorded live, the singer and British composer puts in the skin of "crooner" with intellectual airs and to put itself in front of an orchestra.

The event took place in Is It, during the Festival of Jazz of the North Sea of 2004, one of most important of Europe. After all, the sort is the jazz that with more frequency tends bridges between stylistic borders. Insignes personages appeared There accompanied of the Metropole Orkest, that made the times of elegant big band to put the majestic bottom to its peculiar voice. He himself is the author of almost all the songs of the disc, although also there is including a subject of Charles -"Hora Mingus Decubitus ", to whom he has put letter -, and in another joint party work with one of the greatest connoisseurs of the average musical comedy in which the album develops, Burt Bacharah. It is not the first time that both names appear together. In 1978, the author of "This year´s model" wanted to pay tribute to his admired Bacharah with a version of "I just don´t know what to do with myself". Later, in 1998, they recorded together to a complete album, "Painted from memory", whose result was the unique one that could be expected: excellent. Also there is insignes personages between the ones in charge, next to the own author, of the adjustments, as they are Sy Johnson, Bill Frisell, Vince Mendoza and Steve Snow.

"My flame burns blue", that leaves on sale tomorrow, contains in addition, like gift, the suite "Il sogno", that represented the first incursion of Costello in orquestal music. It was an order of the Alterballetto ballet, whose coreógrafo is Mauro Bigonzetti, and its recording took place in 2002 by the Symphony orchestra of London. The discografía of Elvis Costello is only and surprising. The search of the harmonic complexity has been a constant in its work, knows what is to work with The Brodsky Quartety or the mezzosoprano Anne Sofie von Otter; the sobriety of the putting in scene of its albums dista much of the row of a concert rock, since we have been able to verify in Spain thanks to its frequent visits, mainly lately; it even directed in Copenhagen his own opera, titled "the secret Aryans", adding itself to other authors like Franc Battiato or Roger Waters, who also have sent themselves to so dangerous compositiva company. One is a musician for whom the limits are laughter thing, since nothing prevents him to jump of the rock to the jazz (sometimes guiding, and with good criterion, the passages of its woman, Krall Morning call), of the classic one to the rock, folk to the night club... Costello continues writing one of the pages most shining of present music.

-------------------------------------------------------------------------------------

"the secret Aryans

Oh dear.....

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Postby Otis Westinghouse » Mon Mar 06, 2006 5:59 pm

johnfoyle wrote:Charles -"Hora Mingus Decubitus "

How did it manage to move 'Mingus' in the translation?
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Postby johnfoyle » Wed Mar 08, 2006 5:06 pm

http://www.rochester-citynews.com/gyrob ... oid%3A4242
City Newspaper, NY

Music reviews - 3.8.06

Elvis Costello
My Flame Burns Blue

Deutsche Grammophon


Please, please put away your preconceived punk-poindexter notions of Elvis Costello. The man is a songwriting genius. And his new My Flame Burns Blues is simply beautiful.

Costello says this album "may explain what I've been doing during the last twelve years when I haven't had a guitar in my hands." My Flame Burns Blue has Costelloreally swinging big band style with a bluesy swagger and jazz proficiency. The sound is so incredible it's hard to believe it's a live recording --- recorded at The North Sea Jazz Festival in The Netherlands with The MetropoleOrkest.

Costello takes his own tunes like "Almost Blue" and "Watching the Detectives" --- along with contributions from Charles Mingus, Burt Bacharach, and Billy Strayhorn --- and paints them with a lustrous orchestral wash. Bossa nova beats and cascading strings give the album a grandiose lounge feel full of red velvet and cocktails. And Costello's voice sounds fantastic, believe it or not. His aim is still true. This is music to fall in love to. This is music to fall in love with.

--- Frank De Blase

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Postby Otis Westinghouse » Wed Mar 08, 2006 5:59 pm

Wow, that's the review I wanted to write, but it isn't quite doing that for me, good though it is. Graeme Thomson's Word review was good. Dissed YTD, praised more unusual additions, said it was good and impressive but not one you'd be moved to play too much.
Last edited by Otis Westinghouse on Fri Mar 10, 2006 9:08 pm, edited 1 time in total.
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Postby johnfoyle » Fri Mar 10, 2006 9:42 am

http://www.playbillarts.com/news/article/4096.html

Elvis Costello Disc Debuts on Billboard Jazz Chart
By Ben Mattison
10 Mar 2006


My Flame Burns Blue, the latest album from pop star and composer Elvis Costello, debuted on the Billboard jazz chart this week at number two.

Costello, who has made forays into classical music in recent years, turns to jazz on the new disc, performing with the Dutch big band Metropole Orkest. The album includes new works, arrangements of older Costello songs, and tunes by Charles Mingus and Billy Strayhorn with words by Costello. (Costello's ballet score Il Sogno is on a bonus disc.)

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Postby sweetest punch » Sat Mar 11, 2006 4:30 pm

http://lfpress.ca/newsstand/Today/Music ... 8-sun.html

Adventurous outing


MY FLAME BURNS BLUE

ELVIS COSTELLO; DEUTSCHE GRAMMOPHON/UNIVERSAL

"During the last 12 years," writes Elvis Costello in the liner notes to My Flame Burns Blue, "I've had the opportunity to work with a number of contrasting ensembles, from chamber group and jazz big band to symphony orchestra." On this adventurously sophisticated live disc recorded at a 2004 jazz festival, he splits the difference, teaming up with the legendary Dutch Metropole Orkest -- a jazz orchestra with a string section -- to revisit and revamp 14 cuts from throughout his career.

Highlights include a swellegantly lush version of Almost Blue; a wild update of Trust's Clubland that careens from samba to swing to circus waltz; a jump-blues cover of Dave Bartholomew's That's How You Got Killed Before; a swinging version of Mingus's Hora Decubitus with lyrics by Costello; a soundtrack-sized upgrade of When I Was Cruel's Episode of Blonde; and a snazzy finger-popping reinvention of Watching the Detectives.

Granted, it doesn't rock. But it sure is a cut above the usual live-album predictability. Of course, what else would you expect from the most unpredictable artist in contemporary music?

As a bonus, Costello supplies lengthy anecdotes on all the songs, along with full lyrics. Also included, for no apparent reason, is a bonus disc with excerpts from his 2004 orchestral offering Il Sogno.
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Postby oldhamer » Sat Mar 11, 2006 6:37 pm

It's brilliant! Got my copy from amazon today. I particularly liked "Favourite Hour"; the arrangement showed just how good a song it is. Amazing how fresh the new arrangement of WTD seemed, despite it being one of EC's most played songs. Episode of Blonde also good, and Upon A Veil Of Midnight Blue FINALLY on CD.

I love it, absolutely, totally. Nuff said.
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Postby Mr. Average » Sat Mar 11, 2006 9:42 pm

Maybe better in the "Elvis when you least expect it" thread, but submitted here.

I was shopping in Tower Records in Laguna Woods yesterday (10 new discs, mostly stock and vinyl replacements) and they have 5-6 discs on rotation, one cut per, then rotates to next etc. Repeat as necessary, or until the heavily pierced sales agent decides to make the change. I was shopping for over 90 minutes, and My Flame Burns Blue and the new Dave Alvin album were part of the mix. I was, as genuinely as I can express here, shocked. The average age of the Tower Rep is about 21-22 years, and of course, the clothing attire most be ratio of at least 90% black to < 10% white/grey/color, jet black dyed hair, and they MUST have more piercings than Jennifer Anniston had as her "Flair" when she played the waitree on "Office Space" (bare minimum flair count was 17 I think, according to Mike Judge).

Hearing Episode of Blonde blasting throughout this large warehouse store, with some wierd 48 year old old guy singing along word for word was something that they don't see everyday. It was great. great.

Kids listening to Elvis. My God, give me strength.
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Postby bambooneedle » Sun Mar 12, 2006 12:05 am

That's tremendous, Mr. Average. Those kids ought to be highly commended, very admirable of them indeed <clear throat>.

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Postby noiseradio » Sun Mar 12, 2006 1:59 am

My copy arrived yesterday. It's great. It's my favorite non-rock record Elvis has ever done. The Cuban rhythms on Clubland are great, and I really love what he did with the Mingus tune.

Can someone answer an ignorant question, though? Is the "Il Sogno Suite" CD just a short version of the Il Sogno I already have? Or is it actually a different recording? It sounds Identical but shorter. If that's the case, what was the point of that?
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Postby Mr. Average » Sun Mar 12, 2006 8:14 am

It is nothing more than an edited version of the original, and has nothing to do with the metropole orkest as far as I know. I thought differently when I posted, because I was listening to the first disc and loving it, I only assummed that what laid in store for me was an interpretation of Il Sogno by the the Metropole. Instead, when I played it, I was stunned that it was Tilson-Thomas conducting and nothing more than the original shortened. Now I understand why someone started a thread pertainng to needing another copy of Il sogno...
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Postby oldhamer » Sun Mar 12, 2006 12:51 pm

noiseradio wrote:My copy arrived yesterday. It's great. It's my favorite non-rock record Elvis has ever done. The Cuban rhythms on Clubland are great, and I really love what he did with the Mingus tune.

Can someone answer an ignorant question, though? Is the "Il Sogno Suite" CD just a short version of the Il Sogno I already have? Or is it actually a different recording? It sounds Identical but shorter. If that's the case, what was the point of that?


I can only guess that they want more people to buy the "longer" version after hearing this taster. Doesn't make sense otherwise.

I haven't stuck on disc 2 yet. I will end up buying Il Sogno, only because it's by EC rather than because of any relative merits it may or may not have.

But when you think of all the things EC has not released on CD yet, it's a shame that a shortened IS was the choice for the bonus disc...
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Postby King Hoarse » Sun Mar 12, 2006 1:19 pm

From a "fan" perspective, the shortened Il Sogno is more pointless than the North "videos."

Besides, if had bought MFBB first there is no chance in hell I would have bought the full IS to get more of the same (I'm glad I do have the whole thing, though - it's really good) so if anything it looks like an anticommercial move, sales-wise.

My theory: the mechanical royalty for the composer of a classical work is MUUUUCH higher than that of a pop writer so I think it's a cash-in to get symphony tours financed and whatnot. This way Elvis will get a lot of highbrow dollars from lowbrow comsumers who wouldn't have paid for a standalone score.
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Postby sweetest punch » Sun Mar 12, 2006 5:16 pm

http://torontosun.com/Entertainment/Mus ... 7-sun.html


My Flame Burns Blue

"During the last 12 years," writes Elvis Costello in the liner notes to My Flame Burns Blue, "I've had the opportunity to work with a number of contrasting ensembles, from chamber group and jazz big band to symphony orchestra."

On this adventurously sophisticated live disc recorded at a 2004 jazz festival, he splits the difference, teaming up with the legendary Dutch Metropole Orkest -- a jazz orchestra with a string section -- to revisit and revamp 14 cuts from throughout his career.

Highlights include a swellegantly lush version of Almost Blue; a wild update of Trust's Clubland that careens from samba to swing to circus waltz; a jump-blues cover of Dave Bartholomew's That's How You Got Killed Before; a swinging version of Mingus' Hora Decubitus with lyrics by Costello; a soundtrack-sized upgrade of When I Was Cruel's Episode of Blonde; and a snazzy finger-popping reinvention of Watching the Detectives.

Granted, it doesn't rock. But it sure is a cut above the usual live-album predictability. Of course, what else would you expect from the most unpredictable artist in contemporary music? As a bonus, Costello supplies lengthy anecdotes on all the songs, along with full lyrics. Also included, for no apparent reason, is a bonus disc with excerpts from his 2004 orchestral offering Il Sogno.


http://www.edmontonsun.com/Entertainmen ... 2-sun.html

MY FLAME BURNS BLUE (2CD): Elvis Costello (Universal) -- Desperate passion combines with a great big band-slash-orchestra for one of the best live albums of the year - and that includes Motley Crue. 4 out of 5
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Postby johnfoyle » Sun Mar 12, 2006 6:53 pm

http://www.timesonline.co.uk/article/0, ... 13,00.html


The Sunday Times ( London) March 12, 2006

ELVIS COSTELLO
My Flame Burns Blue
Deutsche Grammophon 4775961 (2 CDs)

Good God, this is bad. Live with the Metropole Orkest, EC here reworks his multifaceted back catalogue (including Watching the Detectives and Clubland, from the Attractions strand) in big-band and torch-song styles. Does anyone seriously rate the man as a natural born crooner? As on previous exhibits, his ghastly, off-key groaning sounds more like someone straining in the bathroom than baring his soul with pathos and beauty. Still he persists with his belief in himself as an artist with the talent to carry arrangements where the voice is everything, and tracks soar or sink on its merits, apparently impregnable. For preferring artistic polyglotism over creative stasis, Costello is to be cherished. But that doesn’t prevent him producing hubristic stinkers such as this. One star

DAN CAIRNS

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Postby scielle » Sun Mar 12, 2006 8:00 pm

Mr. Cairns sure is getting great utility out of his thesaurus.

Here's another review - Toronto's NOW don't like it either:

Perhaps Elvis Costello was unsure whether to create a Broadway musical in which he could co-star with his wife, Diana Krall, or to whip up some clever lyrics for Beethoven's symphonies, so he settled on recording a live big-band jazz album with the massive string-enhanced Metropole Orkest. Costello may be an overly ambitious fool, but he's no idiot, so he brought in some ringers to write the charts for the event. Both Mike Mossman and Joan Reinder are talented arrangers, and Vince Mendoza is a capable conductor, but they still can't make a silk purse out of the sow's ear of Costello's limited voice. The problem goes far beyond Costello being out of sync; at times it sounds like he's singing a completely different tune than what's being played. But if you think that's bad, Costello has included a bonus disc of excerpts from his Il Songo ballet based on Shakespeare's A Midsummer Night's Dream for lesser-evil's comparison sake. 2/5

Tim Perlich
NOW | MARCH 9 - 15, 2006 | VOL. 25 NO. 28

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Postby oldhamer » Sun Mar 12, 2006 8:43 pm

What's the problem with Costello's voice? He sings brilliantly! Fools.
If there were a king of fools than I would wear that crown/And you can all die laughing/Because I'll wear it proudly.

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Postby thepopeofpop » Sun Mar 12, 2006 8:46 pm

I suspect that the "logic" behind issuing an edited version of "Il Sogno" is because this is the version of Il Sogno that will be played on tour, and since MFBB has clearly been released to coincide with this tour (remember that MFBB was released 6 weeks earlier in Australia to coincide with the tour there) this sort of makes sense. Also there is the possibility that EC now prefers the shorter version of IS.

The point about royalties is well made though - MFBB will undoubtedly sell many more copies than Il Sogno. It might seem counterproductive to make IS available "for nothing" but EC still gets composing royalties no matter what disc it's on, and it will sell 10 times as much in conjunction with MFBB. Of course, 10 times next to nada still isn't much :wink:

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Postby verbal gymnastics » Mon Mar 13, 2006 6:05 am

scielle wrote:Mr. Cairns sure is getting great utility out of his thesaurus.


Absolutely. What pretentious rot the last two sentences are.
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Postby johnfoyle » Mon Mar 13, 2006 9:14 am

From listserv -

From American Way, March 1, 2006.

Elvis Costello - My Flame Burns Blue (Deutsche Grammohpon)
Though Elvis Costello long ago grew tired of the
standard rock-and-roll arrangement -- guitar, bass,
drums, keys -- his last two reunions with the form
(2004's TDM and 2002's WIWC) proved that he still
knows it serves a function, both in his life and
for the culture at large. But he's a restless musician,
and at this point in his career, he's much more likely
to produce something like this, a live album with the
Netherlands' legendary Metropole Orkest, which finds
the former Napoleon Dynamite reconfiguring past
classics ("Clubland," "Watching the Detectives")
into swinging jazz standards and riffling through the
part of his past that doesn't involve him rocking or
rolling (highlight: the bluesy ballad "Upon a Midnight
Blue"). A bonus disc tacks on a 45-minute suite from
his first orchestral work, Il Sogno, but the real treat
here is hearing Costello do what he did on 1981's AB:
losing himself in unfamiliar territory and coming out
better on the other side. --Zac Crain

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Postby bambooneedle » Mon Mar 13, 2006 11:44 am

King Hoarse wrote:From a "fan" perspective, the shortened Il Sogno is more pointless than the North "videos."

Besides, if had bought MFBB first there is no chance in hell I would have bought the full IS to get more of the same (I'm glad I do have the whole thing, though - it's really good) so if anything it looks like an anticommercial move, sales-wise.


I see it this way (aside from the point you had made about royalties), KH - I think the shortened Il Sogno must give MFBB cross appeal, after all it doesn't cost the buyer any more. It's a chance to have Il Sogno heard by many more people (I guess gratifying for EC). Il Sogno on its own probably didn't sell much, but I suppose a big proportion of EC record buyers would have a nigling curiosity about it, even a sense of alienation, that the shortened version of Il Sogno would assuage. If someone is mainly curious about Il Sogno, chances are, getting the MFBB EC material is much more enticing than just getting the entire I.S. (few people would NEED to hear it whole). Also, for anyone who saw IS performed live, the 2 discs combined would reflect pretty accurately the kind of show they saw and heard on the night, so maybe that was part of the motivation for it.

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Postby Mr. Average » Mon Mar 13, 2006 12:22 pm

Wow Bamboo. Your note above has eerie familiarity to an earlier post from your favorite crawler, which I now understand to mean 'asskisser". I posted this before I knew it was just a sample of the original, but it doesn't chance my position on its inclusion

Mr. Average wrote:I think this record is a perfect complement to Elvis' catalog. Great packaging, interesting song selection, .....

I thoroughly enjoy this record, and since I have enjoyed Il Sogno since its original release, I like to hear another interpretation of it. I think it is more than just fodder for the Elvis Costello completist. It opens new audiences. If Elvis were a marketing guy, he would be considered brilliant, because he continues to expose his strengths to entirely different audiences, with entirely different demographics. As he hooks one (with Sophie, or Paul, or Bill, or Emmylou, or Burt, or Michael TT, etc etc,) he generates a pullthrough effect on his vast panoply of recorded arts.

Instead, I don't for a second believe that this is about creative marketing. It is about creative genius that cannot be confined to one or two musical genres, or spaces. Elvis is indeed the Gershwin, Porter, even the Lennon/McCartney of our time, and more. His creative mind is like a can of soda pop that has been furiously shaken, then immediately 'zipped' open, only to have the effervescence spew in every direction.

...
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)

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Postby bambooneedle » Mon Mar 13, 2006 12:43 pm

Mr. Average wrote:Wow Bamboo. Your note above has eerie familiarity to an earlier post from your favorite crawler, which I now understand to mean 'asskisser".

Not really - I'm making concise points about the product, not praising EC endlessly.

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Postby Jackson Monk » Mon Mar 13, 2006 2:04 pm

Parts of this record make my ears bleed. Never gonna be a favourite for me. :?
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Postby wardo68 » Mon Mar 13, 2006 2:43 pm

Jackson Monk wrote:Parts of this record make my ears bleed.


Have you tried listening at lower volume?

I'm still enjoying it, but I imagine it will get less play next week when the Juliet reissue arrives, and even less when the Toussaint thing is out. It's a nice diversion, but I don't see it emerging as a major work.


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