ELVIS COSTELLO I WAS CRUEL & BLOOD CHOCOLATE ORIGINAL RELEASES RARE 3 LP SET

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 COSTELLO ELVIS WHEN I WAS CRUEL DOUBLE LP SET ORIGINAL 2002 RELEASE ISLAND DEF JAM MUSIC GROUP ISSUE WITH GATEFOLD JACKET - LONG OUT OF PRINT - IMPOSSIBLE TO FIND VINYL PRESSING - NOT AVAILABLE ANY WHERE

BLOOD & CHOCOLATE - 1986 RARE LONG OUT OF PRINT UK PRESSING

TWO TITLES WITH 3 SIDES OF VINYL

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The nicest thing you can do for your stylus and your ears. The ultimate record -- the way music was meant to be heard .

BLOOD & CHOCOLATE - 1986 RARE LONG OUT OF PRINT UK PRESSING - "A pissed-off, 32-year-old divorcé's version of This Year's Model" is what Elvis Costello once called this 1986 noise-pop masterpiece. Following the foray into acoustic roots music that informed the heartbroken King of America, Costello immediately redubbed himself Napoleon Dynamite for songwriting and DIY-cover-painting credits, teamed again with the Attractions and producer Nick Lowe, and headed for the figurative garage. Spattered with bad love and strange dreams, nervy Beatles "tributes" (the deranged "I Want You" held the same end-of-side-1 place on the original LP as John Lennon's namesake ode to Yoko did on Abbey Road), and blurt after blurt of bent tunefulness, Blood & Chocolate was for all that an exceedingly artful, criminally ignored album. "Someday they'll probably make a movie out of all of this," Costello sings on the penultimate "Poor Napoleon." "There won't even have to be a murder, just a slow, dissolving kiss."

Track Listings

11. Next Time Round

COSTELLO ELVIS WHEN I WAS CRUEL DOUBLE LP SET ORIGINAL 2002 RELEASE ISLAND DEF JAM MUSIC GROUP ISSUE - LONG OUT OF PRINT - IMPOSSIBLE TO FIND VINYL PRESSING - NOT AVAILABLE ANY WHERE - These FOREIGN pressings are sent with the vinyl outside of the jackets when being shipped to the U.S. to protect the covers from damage. Once inside the our wherehouse we then protectively seal the title in a loose re-sealable plastic cover to ensure the quality of the product. This title is brand new & never played condition.  Don't Miss out. 

Following a string of tasteful but sometimes bloodless collaborations with Sophie Van Otter, Bill Frisell, and the London Symphony Orchestra, Costello delivers his most visceral and satisfying LP in years with When I Was Cruel. Reunited with half the Attractions, Pete Thomas and Steve Nieve, Costello sticks relatively close to the sharp new-wave melodies that sealed his reputation in the late '70s and '80s, but infuses them with powerful sonic touches: a hypnotic loop of Italian pop singer Mina that carries the title track, the melodica that casts an eerie glow over "Soul for Hire," and the frenetic, klezmer-inspired horns that drive "15 Petals." Costello's guitar is frequently drenched in tremolo, and his lyrical wit hasn't been this consistently spiky and unforced since Blood & Chocolate. Compared to some of his more uptown adventures, When I Was Cruel may seem at first a kind of semi-nostalgic slumming, but the opposite may be the case: like Woody Allen, Costello is at his most artful when he produces perfect pop trifles that will almost certainly outlast his more self-conscious "serious" work.

A lot of ink has been devoted to harking Elvis's return to the substance (if not the style) of his early triumphs, My Aim Is true and This Years Model, with this release. While both of those albums are rightfully viewed as classics, it's great to hear Elvis update his sound while maintaining his edge.
Working with Leo Pearson (U2, various electronica artists), and a number of members of the Attractions, EC has cut an album that rocks with the biting wit that has been his trademark for the past 25 years. It's a welcome addition to his catalogue, and it's a real fun album to listen to. It's also a welcome relief from the collaborative projects that have occupied his time over the last few years.
Elvis is at his best on a number of tunes on this disc. "Tear Your Own Head Off" has some blistering guitar work, and is the best song from the late seventies to be recorded in years. "Soul For Hire" has some deep, ominous sonic textures at work, much like "Watching The Detectives" (all though it is not reggae-based). There is great use of horns on a number of tracks, particularly "Episode of Blonde". And "When I Was Cruel NO. 2" sounds like a Portishead tune, particularly with its eerie samples and tape loops. It's not something you'd expect from Elvis, but then again, his introduction of the unexpected has generally made for the best tunes on his many projects (the 50's style organ on "The Beat" comes to mind).
This album ranks right up there with "My Aim Is True", and more importantly "This Year's Model" in terms of wrenching tunefulness. Fortunately it is a breakthrough, as opposed to a revival. It's nice to hear an artist who knows what sounds work best for him, and take that to a new level.

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