'The Return Of The Spectacular Spinning Songbook', Nov. '11

Pretty self-explanatory
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johnfoyle
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by johnfoyle »

That's a US import, I assume?
There's no equivalent UK version -- correct
?

I guess so - I didn't get a close enough look. It was high on a shelf behind the counter.


Win a copy of Elvis Costello's "Spectacular Spinning Songbook"


http://minnesota.publicradio.org/collec ... of_e.shtml
Dr. Luther
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Dr. Luther »

johnfoyle wrote:
That's a US import, I assume?
There's no equivalent UK version -- correct?
I guess so - I didn't get a close enough look. It was high on a shelf behind the counter.
Yeah -- you should probably keep your distance from that thing.
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by johnfoyle »

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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Minerwerks »

I just picked up the CD/DVD set myself and - I didn't see mention of this - the "diary" content of the super deluxe box is not included in the booklet. I had a suspicion that would be the case, but now I can say for sure.

I have to laugh that the booklet that IS included is almost exactly the tour program I bought at the Clearwater, Florida show Tuesday night (including the 1 page ad for his back catalogue!), except for adjustments to the credits and different layout for size reasons. At least my program is signed - and does include the "Secrets of the Spectacular Spinning Songbook" in the centerfold.

Also, now reading EC's comments on the Wiltern show that was filmed, I am positively crestfallen that "Next Time Round" with the Bangles is not part of the CD or DVD.

Edit: I notice the competitions linked above tout a 28 page booklet - mine is only 24 pages, but I'm pretty sure this is just Universal Music misinformation.
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by johnfoyle »

http://www.elmoremagazine.com/2012/05/m ... ew-concert

Elvis Costello and the Imposters release “Spinning Songbook” Pay-Per-View Concert
Music News / New at Elmore
ElmoreMagazine.com | May 7th, 2012 by Elmore Staff

For the first time ever Elvis Costello and The Imposters will be directly available in fan’s own homes as a specially recorded concert is beamed out via pay-per-view and video on demand in both standard and high definition. The show utilizes the Spectacular Spinning Songbook, a Wheel of Fortune type revolving disc listing various songs and spun by audience members. Wherever it lands, that’s the song to be played. Chance may dictate which song is sung, but the show is guaranteed to be a winner having already garnered popular acclaim across the country.

Costello first employed the Spectacular Spinning Songbook as far back as 1986 at the Beverley Theatre in LA during the Costello Sings Again Tour. Retiring it for 25 years, the Spinning Songbook was brought back into the spotlight for The Revolver Tour this year. Featuring beloved Costello tracks, new renditions of old favorites, rarities and more recent songs from the critically acclaimed release National Anthem.(huh? - JF) The show will also feature surprise guest stars and of course Costello at his very best, mixing banter and wise-cracks between songs.

This one hour special filmed at the Wiltern Theatre, Los Angeles will be available on most cable systems around the country and VOD at a cost of $9.99 with a TV-PG rating, starting tonight.


HDPPV Monday, May 7, 2012 8:00PM ET HD Premiere

Other airdates SD and HD:

HDPPV Wednesday, May 9, 2012 6:00PM

HDPPV Thursday, May 17, 2012 10:00PM

iN3 Sunday, May 20, 2012 2:00PM

HDPPV Friday, May 25, 2012 5:00PM

iN3 Saturday, May 26, 2012 2:00PM

iN3 Saturday, June 2, 2012 3:00PM

HDPPV Saturday, June 2, 2012 8:00PM

HDPPV Sunday, June 3, 2012 4:00PM

iN3 Sunday, June 3, 2012 6:00PM

iN3 Tuesday, June 5, 2012 8:00PM

iN1 Wednesday, June 6, 2012 6:00PM

HDPPV Friday, June 8, 2012 9:00PM

iN1 Saturday, June 9, 2012 6:00PM

iN3 Monday, June 11, 2012 7:00PM

iN3 Friday, June 15, 2012 6:00PM

HDPPV Friday, June 15, 2012 7:00PM

HDPPV Friday, June 15, 2012 1:00AM

HDPPV Saturday, June 16, 2012 5:00PM

HDPPV Sunday, June 17, 2012 2:00PM

HDPPV Friday, June 22, 2012 8:00PM

iN3 Saturday, June 23, 2012 6:00PM

HDPPV Saturday, June 23, 2012 7:00PM

HDPPV Friday, June 29, 2012 8:00PM

iN3 Saturday, June 30, 2012 3:00PM
Jocko Wainwright
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Jocko Wainwright »

I finally got around to watching the DVD a couple of weeks ago, and I've watched it a couple more times since. It's the best official concert release that I've seen from the boy. The initial chunk of songs is definitely the weakest part, but after that obligatory moment has passed, there are a lot of things to love. I particularly enjoyed God Give Me Strength, although I was afraid that Elvis was going to get tackled by a hippie at one point. I agree that it was pointless to separate those bonus tracks out of the main body of the concert. I suppose they just wanted to be able to say there were bonus tracks. Speaking of which, I also very much enjoyed that version of Watching The Detectives. Elvis seemed to take great inspiration from the writhing redhead.
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Ymaginatif »

I'm sure it's meant to be a cynical statement by EC or something, but he's sure putting a whole lot of legs, thighs and push up bras on stage these days.
What's the difference between EC and a dirty old man? A raised eyebrow? :wink:
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Ymaginatif »

Haha, I noticed the clash of irony between my previous statement and my avatar :mrgreen:
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Man out of Time »

A review of the affordable CD release by Roger Goodgroves on Gettothefront.co.uk:

Review: Elvis Costello, The Return Of The Spectacular Spinning Songbook

This CD and DVD double pack was originally released including a 4 track 10″ vinyl disc and a 40 page hardback cover signed by Elvis Costello (real name Declan McManus).

Costello, not known to shy away from controversy slammed the record label for its release at £269 saying “the price appears to be either a misprint or a satire.” He advised fans not to buy it and if they wanted to spend that much he could recommend Ambassadors of Jazz by Louis Armstrong. He added: “Frankly, the music is vastly superior.”

In contrast, the current release can be picked up for a street price of under £12 and must surely be the bargain of the Century?

Released on April 2nd, “The Return Of The Spectacular Spinning Songbook” is a live album taken from two nights played at The Wiltern in Los Angeles in May last year. The ‘spinning songbook’ in question is a game-show type wheel spun by select fans and featuring songs from Costello’s back catalogue. Spin the wheel, where it lands is what gets played. This is an interesting idea and one to keep the musicians interested on a long tour as much as it does the fans.

The 16 tracks on the main CD cover a fair selection of Costello’s earlier albums with only a couple of tracks drawn from his seven albums since the turn of the century. To be honest that’s not a bad thing for me and I own five of those!

The overall impression I get from this album is a frenetic, rush through. This could be seen as having drive and enthusiasm but seems to me more like going through the motions. Kicking off with “I Hope You’re Happy Now” and rushing straight into “Heart of the City” a Dr Feelgood song but written by Nick Lowe who produced Costello’s first five albums. There is no let up in the pace as no sooner has the band hit the final chord then we are straight into “Mystery Dance” and again without a breath we have the first of Costello’s hits with his rant on the state of broadcasting, “Radio Radio”.

It’s only now that we get our first chance to breath as Elvis’ band ‘the Imposters’ introduce a new groove to “Everyday I write the book” with Steve Nieve on Hammond organ showing just how talented he is. Elvis “fell out of love” with this hit song he “wrote in a spare ten minutes” until Canadian Songsmith Ron Sexsmith reminded him about the rough diamond that was at the core of the song. It’s also at this point that we get a feel for what the Spinning Songbook was all about as Costello brings the audience member selecting the song into “the society lounge” and shows her the “hostage to fortune go-go cage” in case she feels like dancing. Costello’s on-stage banter has often been entertaining and he seems to revel in this format.

Elvis was introduced to us back in 1977 with his album “My Aim is True”. It was shortly after the album recording that Costello put together his own band to tour with called ‘The Attractions’. The band playing on this album ‘The Imposters’ are the same guys, with the exception of Bruce Thomas who Costello famously fell out with over his book “The Big Wheel”. Bruce’s place in the band is taken by Davey Faragher.

Fans following Costello have had a job keeping up with his many style changes including an album with legendary song writer Burt Bacharach. That album, “Painted from memory”, while at first challenging was a real gem and the next track played was the initial track they worked on together. This was for a great film for music fans called “Grace of my heart“. The track, “God give me strength” was played over the closing credits and it’s one of the very few times I have seen an audience routed to their seats until the very last credit rolled.

So the track is a cracker and live it can carry the same emotion, however this time the drama and emotion of the song is spoilt by Costello wandering away from the melody line. With Bacharach being the king of melody, it’s a surprise that Elvis would do this. Now this is not to say that the song is a bad one with this delivery, only that it can be so much better. This is the same way I felt about another dramatic track “I want you”. This song, focused on obsession about a previous lover, needs a very careful balance so as not to tip over too quickly into the psychopath and in my opinion it fails.

By now you may be thinking about avoiding this album, however if you do you’ll be missing some good stuff. My criticism is based on knowing these songs can be better. Without the “reference card” they are still powerful. The American audience are heard whooping and hollering often, during the performance rather than at the end of a song, however that is their way.

As well as the tracks that are the staple to recent Costello set lists there are a few rare tracks such as “Tear off your own head (it’s a doll revolution)”, a Costello song sang tonight by Susanna Hoffs of The Bangles who released it as a single. You also get “Out of time”, not Costello’s “Man out of time” but the Stones’ song from their Aftermath album that was taken to number one in the UK charts by Chris Farlowe. Fans aren’t left short-changed as you also get “Man out of time” too.

I started by saying this album could be the bargain of the Century, Well perhaps of THIS Century, compared to the original release price. It is a release worth having, however there have been better Costello live releases. Start by grabbing “Live at the El Mocambo” which was originally a promo disk but had later full releases and was a bonus disk on an earlier Costello re-release programme. Then grab yourself, the now hard to find box set Costello/Nieve where their stripped down shows really allowed the songs to talk.

http://gettothefront.co.uk/2012/03/revi ... -songbook/

Why have I never heard the Dr Feelgood version of "Heart Of The City"?

MOOT
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by VonOfterdingen »

I finally got the dvd/cd - problem is that i'm stuck, having just watched the dvd for the third time (all with headphones) and haven't even heard the cd yet. But there are so many highlights: Every Day i write the book, I want you, Stella Hurt, Alison and Earthbound. What's the story about the latter? Is it a new song or?

Having just read the somewhat dissapointing reviews or the Dublin show I still have high expectations for the Aarhus show the 2. of June!
I'm not buying my share of souvenirs
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And No Coffee Table
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by And No Coffee Table »

"Earthbound" is one of the songs written for Wendy James.
http://www.elviscostello.info/wiki/inde ... Your_Tears
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by VonOfterdingen »

And No Coffee Table wrote:"Earthbound" is one of the songs written for Wendy James.
http://www.elviscostello.info/wiki/inde ... Your_Tears
Thanks! First time i've come across the song. Can't figure out if that's weird or not..
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by sulky lad »

There appears to be a boxed set on eBay at the moment with a starting bid of £9.99 - though I doubt if it'll make £250 :roll:
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Man out of Time »

This article by Noel Murray has positive things to say about The Return Of The Spectacular Spinning Songbook, or at least the DVD portion of it:

"What makes live music “good,” onstage and on-record?

Somewhere around 5 p.m. on the second day of this year’s Fun Fun Fun Fest in Austin, I was on the verge of falling asleep. Blame an exciting first day, with world-beating sets by Bob Mould (playing Sugar’s Copper Blue in full), X (playing Los Angeles), Lucero, Superchunk, Against Me!, and a reunited Run-D.M.C. But I’d had high hopes for day two, looking forward to seeing Surfer Blood, an uptempo indie-rock band whose debut album I liked very much, and Real Estate, a mellower but generally likeable group. At Fun Fun Fun, Surfer Blood merely sounded good, but didn’t do much besides stand still and play, while Real Estate was only slightly more animated, playing lightly pleasant music that seemed to dissipate into the sunset at Auditorium Shores. Feeling too dozy too soon, I wandered off to the other end of the park, where I happened upon New York hardcore punk legends Youth Of Today, finishing up its set with a scorching cover of 7 Seconds’ “Young ’Til I Die.”

“Finally,” I thought. “A goddamn rock-’n’-roll show.”

From roughly the ages of 16 to 26, I went out to see live music about as often as I went to the movies or watched TV. Then I got married, had kids, and moved to a town with far fewer good live-music options than I’d had when I lived in Athens, Georgia, or Nashville, Tennessee. These days, I mostly get my live music second-hand, through audio recordings of shows, DVDs of concerts, and appearances by musicians on late-night TV and Austin City Limits. Each of these forums has its own unique demands, often different from the demands of a nightclub performance, arena show, festival gig, or studio recording.

Consider the Grateful Dead. A few months ago, Shout! Factory released the 14-disc DVD box set All The Years Combine, containing the 1977 concert film The Grateful Dead Movie, along with several videotaped Dead concerts shot between 1978 and 1991. Outside of American Beauty and Workingman’s Dead, my favorite Grateful Dead albums have always been the band’s live albums, and my father used to say the Dead put on one of the best live shows he’d ever seen, back in the early ’70s. (My mother, less impressed by musicianship as an end to itself, repeated the same story with decidedly diminished enthusiasm.) I delved into All The Years Combine eagerly, but while I enjoyed some of the anthropological aspects of The Grateful Dead Movie—which includes fan interviews and backstage documentary footage alongside the performances—I quickly realized that the rest of these DVDs were better as background music than as a piece of visual media that rewards close attention.

That isn’t meant as a knock against The Grateful Dead. The quality of the playing on all of these discs (and the sound mix, which mattered greatly to the Dead) is hard to deny. The 1978 New Year’s Eve show The Closing Of Winterland is especially fine, opening with a seamless 30-minute medley of “Sugar Magnolia,” “Scarlet Begonias,” and “Fire On The Mountain” as bewitching as anything The Grateful Dead ever recorded. Besides, I’m sure that had I been in these arenas, with these fans, dancing and singing and sharing the vibe (and whatever else the Deadheads might have to offer), I’d have been transfixed. But taken strictly visually, minus the trippy light shows of the late ’60s, the Dead rarely offered much added value—except to music buffs like my guitar-playing father, who just liked to watch skilled musicians play.

Contrast the Dead with Elvis Costello, who also released a DVD this year, The Return Of The Spectacular Spinning Songbook. Recorded over two nights at The Wiltern Theatre in Los Angeles, Spinning Songbook prominently features the title item: a giant wheel of songs that Costello invites certain audience members to spin, to determine the evening’s setlist. Beyond the wheel, the show includes go-go dancers and celebrity guests—including The Bangles, who sing one song and dance to two others, and TV folk Matt Weiner and Sandra Oh, who each spin the wheel. Plus it has Costello, who moves around, tells jokes, works the crowd, and in nearly every way imaginable is unlike the intense-but-inert Grateful Dead. A stirring moment early in the show sets the tone, as Costello sings his ballad “God Give Me Strength” while standing right in front of the first row of seats, showing the kind of performing generosity that could make any audience into lifelong fans.

Yet as fun as The Spectacular Spinning Songbook is to watch, the accompanying CD is a real letdown, with the music sounding fairly muddy and the performances coming off as much less exciting without the visual component. That’s especially disappointing given that Costello is so dynamic in concert, and so underrepresented by official live albums. The Grateful Dead have flooded the market with excellent live material; but Costello’s live releases have largely been limited to bonus tracks on his reissues.

The “live album” in general is less of a major event than it once was. In the ’70s, some hardworking touring acts like Bob Seger & The Silver Bullet Band and The J. Geils Band were hailed first and foremost for their concerts. Until they finally starting getting some radio play for their singles, these bands’ live albums were often more acclaimed and better-selling than their studio albums. Even as recently as the ’80s, a good live album—and live act—could garner a young band some respectability. U2 was already on its way to becoming huge when the band released the Live At Red Rocks concert video and Under A Blood Red Sky mini-LP, but the power of both led to U2 being taken more seriously by critics who’d previously dismissed the band as pretentious post-punkers.

A good live act is still important. Just ask The Flaming Lips, who’ve persisted as one of alt-rock’s top names in large part because of their psychedelic shows. See also Jack White, My Morning Jacket, Fucked Up, and many others. I’d been fairly dismissive of The Arcade Fire until I saw the band perform on Austin City Limits, and was persuaded by the grandeur and passion of the stage show. Ditto St. Vincent, who’d eluded me almost completely on record, but was so stunning on ACL that I became an instant fan. Great bands often make the best case for themselves in concert.

Lately, the documentation of these acts has been largely left up to YouTube fan-shot videos, and one-off performances recorded for iTunes exclusives and the like. There’s so much of that kind of material available now that when much-loved concert attraction The Decemberists released an actual live album this year (the double-disc We All Raise Our Voices To The Air), it was less of a watershed moment than it would’ve been for a major rock band 40 years ago.

On the other hand, all of these new technologies and gateways mean that musicians and fans alike have more choices on how to preserve and enjoy a live show. Videos shot by cell phones and posted online sometimes capture the chaotic, noisy fan experience much more accurately than professionally produced videos do. Conversely, in the concert film Shut Up And Play The Hits, the document of LCD Soundsystem’s thrilling farewell show at Madison Square Garden, the sound mix is so crisp that it might as well have been recorded in a studio—which is fantastic, but doesn’t really get across what it must’ve been like to have been in the audience that night.

That’s always been the big question when it comes to a live album or concert film: Is it meant to be a document of a moment, as close to reality as possible, or is it supposed to be a polished piece of music in and of itself? (Personally, I think it should combine the best elements of both, sounding clean yet still explosive and improvisatory.) And what’s a band supposed to do onstage? Reproduce its albums as accurately as possible, even if that means concentrating so hard that its members are standing stock-still, or pull apart and reinterpret the songs, with lots of jamming, all while remaining constantly in motion?

I don’t think any less of Surfer Blood and Real Estate for being passively note-perfect at Fun Fun Fun Fest. I still enjoy their music and understand that the context may have affected how dull their sets seemed to me. In a small club, both of those bands could well be electrifying. (Ditto if they ever get to play on SNL, or put out a concert film.) But easily the best set I saw that day—and second only to X overall that weekend—was by Refused, the arty Swedish hardcore punk band whose frontman, Dennis Lyxzén, pumped up the crowd, leapt about, swung his microphone, did scissor kicks, and performed. At that time, in that place, Refused was exactly what I wanted to see and hear. And even without the benefit of a DVD or CD recording, it’s a show I’m likely to remember.

I wish I did have a DVD of that Refused show. (I do still have my DVD of the documentary Refused Are Fucking Dead to return to, thank goodness.) And I wish more bands realized that how they perform onstage—and how well they capture that live energy on record—can define them for generations. There’s a moment in The Grateful Dead Movie where a fan complains that the presence of a film crew at a concert is the worst thing the band ever did, and an affront to Deadheads, while another Deadhead tries to calm the guy down, saying that in five years, he’ll be glad the movie exists. Even if the angry Deadhead never did change his mind, I’m glad The Grateful Dead Movie was made, because while there’s a lot of footage of the Dead available post-1980, this movie shows a younger, spryer band, in its mid-’70s heyday.

I thought about that angry Deadhead again while watching the recently released DVD The Doors: Live At The Bowl ’68, which cleans up and expands a legendary film of The Doors playing at The Hollywood Bowl shortly after the release of their third album, Waiting For The Sun. This was during a time when The Doors were still honing their act, and not yet completely sidetracked by Jim Morrison’s erratic onstage provocations. Like the Dead, The Doors didn’t move much onstage, but Morrison’s commanding voice and swaying form were riveting. More importantly, this film humanizes a band often spoken of exclusively in larger-than-life terms. In Live At The Bowl, it’s just four dudes playing groovy garage rock on a large stage, while spouting poetry that the audience would sometimes nod along with and sometimes laugh at, prompted in both cases by Morrison himself. On record, The Doors sometimes seem preposterously ponderous and faux-heavy. In front of this crowd, in this film, they come to life."

http://www.avclub.com/articles/what-mak ... ood,88715/

Interesting question as to whether the professionally shot and edited concert "film" is a true record of the event, or whether the footage captured on a handheld mobile/cellphone by an audience member is a truer record of the concert experience.

MOOT
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by sulky lad »

I've often felt that my own ROIO have lacked the spark and thrill that I felt at the time of the recording and have postulated about the quality of my recording media or whether I'm a dolt when it comes to recording ( too many missed concerts to doubt that :roll: ) but the point is well expressed here. My recordings of the 1999 Costello/Nieve tour seem to far more readily capture the nuances of the duo compared to almost any Imposters/Attractions recordings that I've made and that's been true for recordings of other artists as well. Is is the performance or the perception of the performance that counts ? I know I wish I'd been at El Mocambo in 1978, Hope And Anchor in 1980 - when I could have been had it not been for a bus and tube strike in London, Royal Festival Hall in 1984 or Brighton in 2013 when VG finally gets to spin the wheel !! :lol:
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by cwr »

Well, almost a year and a half after its original release, I finally acquired a copy of the "Super Deluxe" edition of ROTSSS for less than 200 dollars.

Still overpriced but I had a feeling that I was probably never gonna get a copy for THAT much cheaper.

It's fun to finally have one, though it's hard to shake the feeling that this was a HUGE botched opportunity. What could have been a really fun release ended up leaving a sour taste in everybody's mouth, and what should have been a celebration of a terrifically fun tour ended up being an exercise in price-gouging and outrage.

STILL: I did end up buying one, and it wasn't cheap. Maybe I'm a sucker.

Or maybe a year without any new Costello release left me in a mood where I felt like buying a Costello thing that I didn't already own, knowing that there are probably fewer Costello albums in the future than there are in the past. (I'd be delighted if that turned out to not be the case, but since EC himself seems in less of a hurry to make new records these days, my guess is that the years 2013-2048 won't feature as many releases as 1977-2012 did...)
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And No Coffee Table
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by And No Coffee Table »

This probably won't last, but the super deluxe set is at this moment available for $64.09 on Amazon.
Last edited by And No Coffee Table on Tue Aug 06, 2013 10:45 am, edited 1 time in total.
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Ymaginatif
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Ymaginatif »

And No Coffee Table wrote:This probably won't last, but the super deluxe set is at this moment available for $64.09 on Amazon.
It didn't last :)
It's back to its old superexpensive self again
Pigalle
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Pigalle »

Just a head's up. The superdeluxe box set will be an amazon.com deal next Thursday (28th November 2013) at 1pm PT. See here:

http://www.amazon.com/gp/b/ref=pe_61513 ... nkc4192-20
SoulForHire
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by SoulForHire »

What is the price going to be?
Pigalle
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Pigalle »

SoulForHire wrote:What is the price going to be?
Stand down: $186.99
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by johnfoyle »

Echoes of Elvis -

http://pitchfork.com/news/54167-liam-ga ... e-reissue/


Liam Gallagher: Don't Buy Definitely Maybe Reissue
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Ymaginatif
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov.

Post by Ymaginatif »

johnfoyle wrote:Echoes of Elvis -

http://pitchfork.com/news/54167-liam-ga ... e-reissue/


Liam Gallagher: Don't Buy Definitely Maybe Reissue
Hahaha, as stupid remarks go, this one pretty stupid:

"HOW CAN YOU REMASTER SOMETHING THATS ALREADY BEING MASTERED"

(leaving aside spelling and grammar issues) answer: you can ONLY remaster something if it has been mastered ...
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Re: 'The Return Of The Spectacular Spinning Songbook', Nov. '11

Post by sulky lad »

http://www.ebay.co.uk/itm/Elvis-Costell ... SwLnBX5T6r

Currently going for under £100 but time is running out !!
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