Unfortunate error: A sticker on the front boasts of 7 BONUS TRACKS.
That should say 27 bonus tracks!
This Year's Model: Deluxe Edition to be released March 4
-
And No Coffee Table
- Posts: 3530
- Joined: Thu Aug 21, 2003 2:57 pm
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Re: This Year's Model: Deluxe Edition to be released March 4
I still wanna know why Tiny Steps is on there.
( I want answers, dammit...)
( I want answers, dammit...)
-
And No Coffee Table
- Posts: 3530
- Joined: Thu Aug 21, 2003 2:57 pm
Re: This Year's Model: Deluxe Edition to be released March 4
It's probably your fault for not complaining about "Crawling to the U.S.A." (recorded at least three months after "Tiny Steps") appearing on the various This Year's Model CDs.Dr. Luther wrote:I still wanna know why Tiny Steps is on there.
( I want answers, dammit...)
Doesn't that also work as an argument in favor of including it on TYM along with the A-side of that single?When the Radio Radio 45 was released, hearing the fruits of the new recording sessions as the B-side was a BIG DEAL. It was the first evidence that the public had of the next wave of Costello & the Attractions.
Or maybe they have so much stuff planned for an Armed Forces: Deluxe Edition that they knew they wouldn't have room for "Tiny Steps" on that release.
-
thepopeofpop
- Posts: 414
- Joined: Mon Jul 26, 2004 7:19 am
- Location: Newcastle, Australia (& Citizen of the World)
Re: This Year's Model: Deluxe Edition to be released March 4
johnfoyle wrote:...they’re plenty involved, from the guy who can be heard near the end of the show shouting “You’re fucking brilliant!” again and again to the dude who implores Elvis during the hushed bridge of “(I Don’t Want to Go To) Chelsea” to “Play some fucking rock and roll!” (How did WHFS handle these improptu contributions to their radio show, I wonder.)
They edited them out. So “You’re fucking brilliant!” became "You're (snip) brilliant!". Check the bootleg version "Elvis and Friends Go to Washington" to hear what WHFS did
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Re: This Year's Model: Deluxe Edition to be released March 4
I was thinking that, as well.And No Coffee Table wrote:Or maybe they have so much stuff planned for an Armed Forces: Deluxe Edition that they knew they wouldn't have room for "Tiny Steps" on that release.
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Re: This Year's Model: Deluxe Edition to be released March 4
You're correct about Crawling.And No Coffee Table wrote:It's probably your fault for not complaining about "Crawling to the U.S.A." (recorded at least three months after "Tiny Steps") appearing on the various This Year's Model CDs.Dr. Luther wrote:I still wanna know why Tiny Steps is on there.
( I want answers, dammit...)
Doesn't that also work as an argument in favor of including it on TYM along with the A-side of that single?When the Radio Radio 45 was released, hearing the fruits of the new recording sessions as the B-side was a BIG DEAL. It was the first evidence that the public had of the next wave of Costello & the Attractions.
For some reason I just always thought that it was recorded before the Armed Forces sessions.
(But it was December '78, it looks like.)
As for the Radio Radio B-side issue -- for me, the fact that it was recorded during the
Armed Forces recording sessions trumps all.
Re: This Year's Model: Deluxe Edition to be released March 4
Elvis notes in the Armed Forces sleevenotes-Dr. Luther wrote:I still wanna know why Tiny Steps is on there
Rykodisk
"TINY STEPS"
"If this sounds like it belongs on This Year's Model then it was probably for the benefit of the documentary film crew who were climbing up the walls and crawling across the floor in attempt to capture us in an act of recording our "new sound". For reasons I cannot explain we elected to sound as much like our last record as possible. Not without justification they made they made their escape and the film was never completed.
Rhino
Meanwhile, two perfectly good tracks were left off of the album. The first was “Tiny Steps”, which shared the Animals/Them-style guitar figure that drove This Year’s Model outtake “Big Tears”. It was probably the similarity to the previous album that led me to cut the track, although it is probably superior and less lyrically evasive than “Busy Bodies”.
From the Rhino This Years Model 'noteAnd No Coffee Table wrote
It's probably your fault for not complaining about "Crawling to the U.S.A." (recorded at least three months after "Tiny Steps") appearing on the various This Year's Model CDs.
"Crawling to the U.S.A." was a song that was in our very first live set, but it never made the sessions for this album. It was finally recorded during our first Australian tour in the autumn of '78 and released on the motion picture soundtrack album Americathon, in which I had a small cameo as the "Earl of Manchester".
Hence , both songs are of/related to the TYM time period and qualify for inclusion in this package.
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Re: This Year's Model: Deluxe Edition to be released March 4
Thanks for those, John.johnfoyle wrote:Hence , both songs are of/related to the TYM time period and qualify for inclusion in this package.
Call me old-fashioned, but I've gotta indlude a track recorded during a specific album's recording session on THAT album's documentation. It's really a chronological documentation, more than anything else.
Otherwise it's merely subjective placement, which opens a big can of worms.
-
And No Coffee Table
- Posts: 3530
- Joined: Thu Aug 21, 2003 2:57 pm
Re: This Year's Model: Deluxe Edition to be released March 4
There's always "Baby's Got A Brand New Hairdo," which was recorded during the King of America sessions and released as the B-side of that album's lead single, but appears on both the Ryko and Rhino versions of Blood & Chocolate, presumably because it fits more with that album's overall sound.
And then there's the slow version of "I Can't Stand Up For Falling Down" on the Rhino Get Happy!! which actually comes from the Imperial Bedroom sessions!
And then there's the slow version of "I Can't Stand Up For Falling Down" on the Rhino Get Happy!! which actually comes from the Imperial Bedroom sessions!
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Re: This Year's Model: Deluxe Edition to be released March 4
It sticks out like a sore thumb, too.And No Coffee Table wrote:And then there's the slow version of "I Can't Stand Up For Falling Down" on the Rhino Get Happy!! which actually comes from the Imperial Bedroom sessions!
( Now I'm getting pissed off again...)
Re: This Year's Model: Deluxe Edition to be released March 4
http://www.nwherald.com/articles/2008/0 ... 020932.txt
Northwest Herald, IL
Thursday, March 06, 2008
Bryan Wawzenek
Elvis Costello & The Attractions - “This Year’s Model – Deluxe Edition” (Hip-O/UMe) - 4 stars
Nick Lowe - “Jesus of Cool – 30th Anniversary Edition” (Yep Roc) - 4 stars
Back in 1978, at the crux of the punk/new wave movement, Elvis Costello and Nick Lowe were an unstoppable team.
Costello was a sneering upstart with a moniker stolen from The King and a look borrowed from Buddy Holly. The angry young man was polished enough to be tolerated by the music industry (unlike much of his punk brethren) and nasty enough to be reviled by much of it.
Lowe was his pub-rock mentor, a bar band bassist (with Brinsley Schwartz) who had co-founded indie label Stiff and fooled enough young punks – and himself – into thinking he could produce records. But “Basher” (as Lowe was called, because of how he “bashed” out tracks in the studio) turned into a great architect of punk and early new wave’s unfettered sound.
Although Lowe produced records for The Damned, The Pretenders and Graham Parker, he earned his legendary status for his work on Costello’s almost uniformly mind-blowing first six albums – chief among them, 1978’s “This Year’s Model.”
For the title of the era’s best album, “Model” is runner-up only to The Clash’s “London Calling.” While Costello’s debut was more of a singer-songwriter showcase, “Model” is a band album. The writing’s just as strong as on “My Aim is True” (if a little coarser), but the sound of Costello’s punishing sophomore release is sharper, more prickly and more forceful.
Sure, Bruce Thomas’ bass and Pete Thomas’ drums stomp all over the record and Costello’s slices of guitar could lop off limbs, but it’s Steve Nieve’s keyboards that are the most aggressive instruments on the record. Pianos and organs usually add depth and warmth to songs, but here, Nieve’s fast fingers point, prod and poke. Nieve drives “(I Don’t Want To Go To) Chelsea,” then pierces the song with high-register tomfoolery. A single piano key is downright abused in “You Belong To Me.” Somehow, Nieve finds a way to take the lead role on almost every one of Costello’s blitzkrieg bops. (He’s just as good on this “Deluxe Edition’s” second disc, a rampaging Washington concert from ’78.)
Fantastic as Nieve is, Costello is never outshone on “Model.” The guy would go on to write lyrics more clever and beautiful, but never as fantastically incisive. Costello lets loose his pent-up anger like he’s a boxer spitting out blood between rounds, refusing to march to “The Beat,” eulogizing the emptiness inside of “This Year’s Girl” and putting a boot in the speaker of his “Radio, Radio.”
And you have to love the bait-and-switch of the song titles. In “Hand in Hand,” Costello takes his lover down with him. He doesn’t want anybody saying “You Belong to Me.” Instead, he decides to “Pump It Up,” when he doesn’t even need it.
Executed wonderfully by Costello and his band, and overseen by Lowe, “This Year’s Model” is a celebration of this cruel world.
Although this two-disc edition of “Model” is fantastic (especially due to the concert disc), it’s also at least the fourth time this album has been reissued in the last 10 years. It’s quite a different story of Lowe’s solo debut, “Jesus of Cool.”
If you don’t remember Lowe’s first album bearing that title, it’s because it was called “Pure Pop For Now People” in the States (to skirt any religious controversy). It also featured an altered track list and has been out of print for years.
While “Model” is the better record (by a sneer), the anniversary edition of “Jesus” is a bigger deal. It restores the British title, that version’s running order (for the first time in the U.S.) and includes 10 bonus tracks from the era (including all of the songs from “Pure Pop” that weren’t on “Jesus” and the original disco-ish version of “Cruel to Be Kind”).
This is as well-executed as reissues come, but they could have botched it and Lowe’s inventive pop-rock would still have shone through. Given the tightly curled jangle of “So It Goes,” the loungey, new wave reggae of “No Reason” and the perversity of matching Beach Boys-style sighs to a song called “Little Hitler,” the only way to ruin Lowe’s crisp studio wonder would be to erase the master tapes.
Like Costello, Lowe had nothing but contempt for the record industry (as shown on “Music For Money” and “Shake and Pop”), but his songwriting approach was much more playful at this point. For evidence, look no further than “Marie Provost.” a joyful pop jaunt about a silent movie queen who ends up eaten by her pooch (hence the refrain: “She was a winner who became the doggie’s dinner”).
Lowe is just as creative sonically, whether he’s plucking a punk charge for “Heart of the City” or playing with rockabilly on “They Called It Rock.” “Nutted By Reality” steals from “I Want You Back,” “Kodachrome” and “Abbey Road” in the space of three minutes. Somehow Lowe makes sense of all that and still finds room for a lyric about castrating Fidel Castro. Nice.
But the Basher isn’t just a great refashioner of pop history, but an inventive arranger. “I Love the Sound of Breaking Glass” – Lowe’s tribute to destruction – is a mantra crossed with studio experimentation crossed with barely there observation. Barely a song at all, “Breaking Glass” is all repeated lines, giant bass, reverberating “om’s” and crazy-fingered piano work. Yet, it might be the best thing on this album, which is as good a pop collection as anything released in the past three decades.
Back in ’78, Costello became one of rock ’n’ roll’s saviors. But Lowe will forever be the “Jesus of Cool.”
Northwest Herald, IL
Thursday, March 06, 2008
Bryan Wawzenek
Elvis Costello & The Attractions - “This Year’s Model – Deluxe Edition” (Hip-O/UMe) - 4 stars
Nick Lowe - “Jesus of Cool – 30th Anniversary Edition” (Yep Roc) - 4 stars
Back in 1978, at the crux of the punk/new wave movement, Elvis Costello and Nick Lowe were an unstoppable team.
Costello was a sneering upstart with a moniker stolen from The King and a look borrowed from Buddy Holly. The angry young man was polished enough to be tolerated by the music industry (unlike much of his punk brethren) and nasty enough to be reviled by much of it.
Lowe was his pub-rock mentor, a bar band bassist (with Brinsley Schwartz) who had co-founded indie label Stiff and fooled enough young punks – and himself – into thinking he could produce records. But “Basher” (as Lowe was called, because of how he “bashed” out tracks in the studio) turned into a great architect of punk and early new wave’s unfettered sound.
Although Lowe produced records for The Damned, The Pretenders and Graham Parker, he earned his legendary status for his work on Costello’s almost uniformly mind-blowing first six albums – chief among them, 1978’s “This Year’s Model.”
For the title of the era’s best album, “Model” is runner-up only to The Clash’s “London Calling.” While Costello’s debut was more of a singer-songwriter showcase, “Model” is a band album. The writing’s just as strong as on “My Aim is True” (if a little coarser), but the sound of Costello’s punishing sophomore release is sharper, more prickly and more forceful.
Sure, Bruce Thomas’ bass and Pete Thomas’ drums stomp all over the record and Costello’s slices of guitar could lop off limbs, but it’s Steve Nieve’s keyboards that are the most aggressive instruments on the record. Pianos and organs usually add depth and warmth to songs, but here, Nieve’s fast fingers point, prod and poke. Nieve drives “(I Don’t Want To Go To) Chelsea,” then pierces the song with high-register tomfoolery. A single piano key is downright abused in “You Belong To Me.” Somehow, Nieve finds a way to take the lead role on almost every one of Costello’s blitzkrieg bops. (He’s just as good on this “Deluxe Edition’s” second disc, a rampaging Washington concert from ’78.)
Fantastic as Nieve is, Costello is never outshone on “Model.” The guy would go on to write lyrics more clever and beautiful, but never as fantastically incisive. Costello lets loose his pent-up anger like he’s a boxer spitting out blood between rounds, refusing to march to “The Beat,” eulogizing the emptiness inside of “This Year’s Girl” and putting a boot in the speaker of his “Radio, Radio.”
And you have to love the bait-and-switch of the song titles. In “Hand in Hand,” Costello takes his lover down with him. He doesn’t want anybody saying “You Belong to Me.” Instead, he decides to “Pump It Up,” when he doesn’t even need it.
Executed wonderfully by Costello and his band, and overseen by Lowe, “This Year’s Model” is a celebration of this cruel world.
Although this two-disc edition of “Model” is fantastic (especially due to the concert disc), it’s also at least the fourth time this album has been reissued in the last 10 years. It’s quite a different story of Lowe’s solo debut, “Jesus of Cool.”
If you don’t remember Lowe’s first album bearing that title, it’s because it was called “Pure Pop For Now People” in the States (to skirt any religious controversy). It also featured an altered track list and has been out of print for years.
While “Model” is the better record (by a sneer), the anniversary edition of “Jesus” is a bigger deal. It restores the British title, that version’s running order (for the first time in the U.S.) and includes 10 bonus tracks from the era (including all of the songs from “Pure Pop” that weren’t on “Jesus” and the original disco-ish version of “Cruel to Be Kind”).
This is as well-executed as reissues come, but they could have botched it and Lowe’s inventive pop-rock would still have shone through. Given the tightly curled jangle of “So It Goes,” the loungey, new wave reggae of “No Reason” and the perversity of matching Beach Boys-style sighs to a song called “Little Hitler,” the only way to ruin Lowe’s crisp studio wonder would be to erase the master tapes.
Like Costello, Lowe had nothing but contempt for the record industry (as shown on “Music For Money” and “Shake and Pop”), but his songwriting approach was much more playful at this point. For evidence, look no further than “Marie Provost.” a joyful pop jaunt about a silent movie queen who ends up eaten by her pooch (hence the refrain: “She was a winner who became the doggie’s dinner”).
Lowe is just as creative sonically, whether he’s plucking a punk charge for “Heart of the City” or playing with rockabilly on “They Called It Rock.” “Nutted By Reality” steals from “I Want You Back,” “Kodachrome” and “Abbey Road” in the space of three minutes. Somehow Lowe makes sense of all that and still finds room for a lyric about castrating Fidel Castro. Nice.
But the Basher isn’t just a great refashioner of pop history, but an inventive arranger. “I Love the Sound of Breaking Glass” – Lowe’s tribute to destruction – is a mantra crossed with studio experimentation crossed with barely there observation. Barely a song at all, “Breaking Glass” is all repeated lines, giant bass, reverberating “om’s” and crazy-fingered piano work. Yet, it might be the best thing on this album, which is as good a pop collection as anything released in the past three decades.
Back in ’78, Costello became one of rock ’n’ roll’s saviors. But Lowe will forever be the “Jesus of Cool.”
Re: This Year's Model: Deluxe Edition to be released March 4
http://laist.com/2008/03/09/cd_review_s ... _model.php
LAist, CA
March 9, 2008
CD Review Sort Of - Elvis Costello - This Year's Business Model
By Heath Biter
Elvis Costello and The Attractions essential 1978 record This Year’s Model was re-released for the twenty-third time earlier this week as a deluxe 2-CD set. This year’s model of This Year’s Model includes a bevy of previously released bonus tracks, and a previously unreleased live concert.
I was going to review it, but instead I decided not to buy it.
On Tuesday, I found myself at Amoeba records. After an hour or so, I’d amassed a pretty impressive stack of CDs that I wanted to buy. Before I made my way to the counter, I decided to go through my purchases one last time. As I flipped through the pile… Pink Floyd – Piper at the Gates of Dawn (Deluxe Edition); Sonic Youth – Daydream Nation (Deluxe Edition); Beck – Odelay (Deluxe Edition); Wire – Pink Flag (Deluxe Edition); the aforementioned This Year’s Model… Suddenly, I had an epiphany.
I was about to spend a hundred bucks on music that I already owned!
In most cases, a deluxe version of an already admired album is a welcome addition to my record collection. B-sides, alternate takes, and demos can illuminate the artist and place the original work into a greater context. When I was younger, trying to track down all the odd one-off compilation tracks was fun. Now that I’m older, a deluxe reissue that puts everything available in one place is awesome. Keeping a few tracks in the vault so an artist can release a “new” deluxe-edition every few years in infuriating.
This Year’s Model is easily in my Top 50 records of all-time. Yet, I couldn’t bring myself to buy a sixth – yes, sixth – version of it.
Sure, in this digital age, I have the option of just downloading the songs I don’t already have. In this case, I had the option of downloading the entire This Year’s Model for $14.99, or just downloading the 17 new tracks at 99 cents a piece, for the low, low price of $16.83. Hmmm… Tough choice. I wonder why so many people are downloading music illegally.
Elvis, if you’re reading this, please stop re-releasing your old albums. A catalog overhaul every five years is egregious. For any artist to have 10 greatest hits compilations is just insane. (and I’m not mentioning all the other rarities compilations and singles box sets).
By all accounts, you’re a pretty swell guy. You’re clearly a music fan. You’re passionate, prolific, clever, and consistently challenging. Despite having a career that’s lasted over thirty years, you’ve managed to always feel current and relevant. (Well, except maybe for a short stretch during “The Beard Years”) Your live shows are always energized and inspired. Hell, you even walked the picket line with us writers during the WGA strike.
But, Elvis, it also seems like you have a hard time saying “no”. For every brilliant Larry Sanders cameo, you turn up in a movie like Spice World. For every inspired Roy Orbison collaboration there’s a misguided Gwen Stefani duet. For every anti-Bush benefit you play, there’s an American Express commercial.
You might be surprised to learn that I actually don’t have a problem with any of that. The indiscriminate abandon with which you dive into project after project is part of your charm. I wouldn’t want it any other way.
Make all the Lexus commercials you want. Keep recording songs for Nickelodeon soundtracks. Keep appearing on 20 records a year. But please, stop taking advantage of your fans by repackaging the same old records again and again.
Here’s a thought. You are overdue for a proper box set. Why not take all those “bonus” tracks and reward the fans with an Archive-style vault-plundering? Make it 100 discs long if you want. The crux of the box can be Definitive multi-disc versions of every record you’ve ever released. Demos, live tracks, B-sides, guest appearances. Put ‘em all on there. You can even have your fans pay for the box with an Elvis Costello Visa card if you want.
Just promise me you won’t re-release the box set three years later with 8 new songs.
LAist, CA
March 9, 2008
CD Review Sort Of - Elvis Costello - This Year's Business Model
By Heath Biter
Elvis Costello and The Attractions essential 1978 record This Year’s Model was re-released for the twenty-third time earlier this week as a deluxe 2-CD set. This year’s model of This Year’s Model includes a bevy of previously released bonus tracks, and a previously unreleased live concert.
I was going to review it, but instead I decided not to buy it.
On Tuesday, I found myself at Amoeba records. After an hour or so, I’d amassed a pretty impressive stack of CDs that I wanted to buy. Before I made my way to the counter, I decided to go through my purchases one last time. As I flipped through the pile… Pink Floyd – Piper at the Gates of Dawn (Deluxe Edition); Sonic Youth – Daydream Nation (Deluxe Edition); Beck – Odelay (Deluxe Edition); Wire – Pink Flag (Deluxe Edition); the aforementioned This Year’s Model… Suddenly, I had an epiphany.
I was about to spend a hundred bucks on music that I already owned!
In most cases, a deluxe version of an already admired album is a welcome addition to my record collection. B-sides, alternate takes, and demos can illuminate the artist and place the original work into a greater context. When I was younger, trying to track down all the odd one-off compilation tracks was fun. Now that I’m older, a deluxe reissue that puts everything available in one place is awesome. Keeping a few tracks in the vault so an artist can release a “new” deluxe-edition every few years in infuriating.
This Year’s Model is easily in my Top 50 records of all-time. Yet, I couldn’t bring myself to buy a sixth – yes, sixth – version of it.
Sure, in this digital age, I have the option of just downloading the songs I don’t already have. In this case, I had the option of downloading the entire This Year’s Model for $14.99, or just downloading the 17 new tracks at 99 cents a piece, for the low, low price of $16.83. Hmmm… Tough choice. I wonder why so many people are downloading music illegally.
Elvis, if you’re reading this, please stop re-releasing your old albums. A catalog overhaul every five years is egregious. For any artist to have 10 greatest hits compilations is just insane. (and I’m not mentioning all the other rarities compilations and singles box sets).
By all accounts, you’re a pretty swell guy. You’re clearly a music fan. You’re passionate, prolific, clever, and consistently challenging. Despite having a career that’s lasted over thirty years, you’ve managed to always feel current and relevant. (Well, except maybe for a short stretch during “The Beard Years”) Your live shows are always energized and inspired. Hell, you even walked the picket line with us writers during the WGA strike.
But, Elvis, it also seems like you have a hard time saying “no”. For every brilliant Larry Sanders cameo, you turn up in a movie like Spice World. For every inspired Roy Orbison collaboration there’s a misguided Gwen Stefani duet. For every anti-Bush benefit you play, there’s an American Express commercial.
You might be surprised to learn that I actually don’t have a problem with any of that. The indiscriminate abandon with which you dive into project after project is part of your charm. I wouldn’t want it any other way.
Make all the Lexus commercials you want. Keep recording songs for Nickelodeon soundtracks. Keep appearing on 20 records a year. But please, stop taking advantage of your fans by repackaging the same old records again and again.
Here’s a thought. You are overdue for a proper box set. Why not take all those “bonus” tracks and reward the fans with an Archive-style vault-plundering? Make it 100 discs long if you want. The crux of the box can be Definitive multi-disc versions of every record you’ve ever released. Demos, live tracks, B-sides, guest appearances. Put ‘em all on there. You can even have your fans pay for the box with an Elvis Costello Visa card if you want.
Just promise me you won’t re-release the box set three years later with 8 new songs.
Re: This Year's Model: Deluxe Edition to be released March 4
I got my DELUXE This Year's Model this week and took some photos:
"Special pressing No. 003 Ring Moira on 434 3232 for your special prize"
The brownish one is the Ryko, the very clean and photoshoped one is the De Luxe. Rhino look like a very accurate miniture of the Radar LP.
Hmm. When I look at the Preview, the pictures should be wider. If that's the case, try this: http://img.photobucket.com/albums/v714/ ... 008666.jpg http://img.photobucket.com/albums/v714/ ... 008668.jpg http://img.photobucket.com/albums/v714/ ... 008672.jpg
"Special pressing No. 003 Ring Moira on 434 3232 for your special prize"
The brownish one is the Ryko, the very clean and photoshoped one is the De Luxe. Rhino look like a very accurate miniture of the Radar LP.
Hmm. When I look at the Preview, the pictures should be wider. If that's the case, try this: http://img.photobucket.com/albums/v714/ ... 008666.jpg http://img.photobucket.com/albums/v714/ ... 008668.jpg http://img.photobucket.com/albums/v714/ ... 008672.jpg
-
mood swung
- Posts: 6908
- Joined: Thu Jun 05, 2003 3:59 pm
- Location: out looking for my tribe
- Contact:
Re: This Year's Model: Deluxe Edition to be released March 4
did you ring Moira?
Like me, the "g" is silent.
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Re: This Year's Model: Deluxe Edition to be released March 4
Well spotted! Good run-off grooves photo.
There's more to life than books, you know, but not much more
Re: This Year's Model: Deluxe Edition to be released March 4
So, is there any point me getting this reissue?
Yes, there's a whole live concert disc, but are the renditions really worth it?
I was excited about the idea of concert discs, but it'd be great if they included some of the great, obscure cover versions he usually chucks in. And I'm yearning for the disc that accompanies Goodbye Cruel World - surely it'll be the Eurosolo '84 tour? Elvis on his own with an acoustic guitar. Please let it happen!
Yes, there's a whole live concert disc, but are the renditions really worth it?
I was excited about the idea of concert discs, but it'd be great if they included some of the great, obscure cover versions he usually chucks in. And I'm yearning for the disc that accompanies Goodbye Cruel World - surely it'll be the Eurosolo '84 tour? Elvis on his own with an acoustic guitar. Please let it happen!
-
ReadyToHearTheWorst
- Posts: 956
- Joined: Wed Jun 04, 2003 5:44 am
- Location: uk
Re: This Year's Model: Deluxe Edition to be released March 4
I did, and a v. grumpy chappie took my details and sent me a v. nice photo and badge for my troubles. Like, no doubt, many others I passed on the number to all & sundry (which prolly goes someway to explaining said grumpiness).mood swung wrote:did you ring Moira?
Aah, fond memories of Porky Prime Cuts etc.
"I'm the Rock and Roll Scrabble champion"
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Re: This Year's Model: Deluxe Edition to be released March 4
Wait till your local Fopp has it for a fiver. That's my approach to this and any others. They had all the 2CD ones at that price on more than one occasion.
There's more to life than books, you know, but not much more
-
sweetest punch
- Posts: 5993
- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: This Year's Model: Deluxe Edition to be released March 4
Amazon.com has the MP3 album now for sale for 4,99$ !!!
http://www.amazon.com/This-Years-Model/ ... 854&sr=1-3
http://www.amazon.com/This-Years-Model/ ... 854&sr=1-3
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
-
Mr. Average
- Posts: 2031
- Joined: Sat Jun 28, 2003 12:22 pm
- Location: Orange County, Californication
Re: This Year's Model: Deluxe Edition to be released March 4
This is just so damn good. Like presidential candidates, why are these so rare and hard to find. This is, holistically, brilliant and so far beyond anything of its period.
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)