1986/7/8/9 , Spike sleevenotes

[johnfoyle]

Thanks to mcramahamasham for posting this , along with all the other 'notes , in another thread here - I'm posting them individually for easier access.


SPIKE

Away from London, after being a bandleader, out of the cold shadow of the Black Rock, I wrote these songs. In a Dublin hotel room, in a ship’s cabin off the coast of Greenland, on a summer’s afternoon in a house next to windmill as the English countryside rolled down to the coast.
Some of them came out of the newspapers and everyday anger – "Tramp the dirt down", "…This town…", "Coal Train Robberies". One of them came out old newspapers and ugly arguments – "Let him dangle". The case of Derek Bentley had been brought up in every capital punishment debate since I had been a child, so I put it in a song.
The location of one song is Dublin. My Grandfather was a military bandmaster who was demobilised there from the post-First World War infantry at Beggar’s Bush Barracks. He was an Irishman with an English accent, courtesy of the military school of music at Kneller Hall, walking round in a British Army uniform at exactly the wrong time. His story went into "Any King’s Shilling". He then took the safer occupation of ship’s musician and travelled the world on the White Star Line during the mid-1920’s and 30’s. You could see the funnels of ships in the dock from my Grandmother’s window. Some of that view got into the lyrics of "Veronica" and "Last Boat Leaving". They are set in my Father’s hometown, Birkenhead.
A handful of titles came out of my own travels and misadventures – "Chewing Gum", "Deep Dark Truthful Mirror" and the one written amongst the big blue icebergs: "God’s Comic". I am happy to say that "Satellite" is pure fantasy.
Songs don’t always give the precise facts. Other times, an entirely fictional song is laced private details and coded phrases. They help the singer connect with something personal inside. The listener doesn’t have to know about this. They are entitled to their own version. I’ve found that creative mishearing often improves a lyric.
There are three co-written tunes on this album. One afternoon I went out to buy a paper and when I got back, my wife, Cait O’Riordan, had composed "Baby Plays Around". All I did was harmonise the bridge and memorise the chord sequence.
I began writing with Paul McCartney, for his album "Flowers in the Dirt", in 1987. We went on to compose a dozen songs together. "Veronica" was one of the very first songs that we worked on. It is a wishful song about my Grandmother’s failing hold on memory and reality. As the subject was so personal, I didn’t find it so easy to edit the song. Paul put some shape into the music of a rambling bridge and tightened up a few of the lyrical lines in the verses. The title "Pads, Paws and Claws" was taken from a junk shop book. Song didn’t take long.
I called T Bone Burnett to co-produce the album. He put Kevin Killen behind the controls and away we went. Sessions were planned for Dublin, New Orleans, Hollywood and London. Having just signed to Warner Brothers for the entire world, I was working with the budget of a small independent movie. I was hoping that they weren’t expecting any change
I had the blueprint of five albums in my head. Having felt hostility turn into invisibility at Columbia, I offered W.B. their choice. I would even shoot it out with a highly commercial producer if they so desired - believing the songs and my voice could hold their own. They told me to make whatever record I wanted. I seem to have elected to make all five albums at once.
We began in Dublin. I didn’t want to borrow anyone’s clothes, I wanted people knew each other but hadn’t necessarily all played together in one group. So Donal Lunny gathered a unique ensemble from all quarters of Irish music: his former Moving Hearts colleague, Davey Spillane was on Uileann Pipes and low whistle, De Dannan’s Frankie Gavin played the fiddle along with Steve Wickham from The Waterboys, who had recently moved to Ireland. The great singer and songwriter, Christy Moore was ready to set up a mighty rumble on the bodhran while the Chieftans’ Derek Bell talked of micro-tonal tuning and the mysteries of the snow leopard from behind the Irish harp and cimbalom. Donal himself threaded a line through the songs on bouzuki or guitar and Pete Thomas joined us for "Tramp the dirt down" on snare drum.
"Let me dream on it" said Kirk Joseph, as went out of the door at Southlake Studio in New Orleans. His sousaphone had driven along the Dirty Dozen Brass Band when I first saw them at a New York City club in1985. Now I was asking him to take the bass line on "Chewing Gum", a tune that already had the Neville Brothers’ Willie Green on drums. He and the rest of the Dozen had laid down an instrumental version of "Stalin Malone", and put horn their parts next to the pipes and fiddle that we had recorded in Dublin on "Miss Macbeth".
The recording method was established by now. I would lay down a vocal and guitar to a very spare drum machine. It played anything BUT the backbeat, so as to keep things loose. Then we assembled the arrangement piece by piece. The only musicians who performed simultaneously were the Dirty Dozen and those at the Dublin sessions.
I had worked with Allen Toussaint before in 1983. He had produced an unusual version of Yoko Ono’s "Walking on Thin Ice", recorded with the Attractions and the T.K.O. Horns. Now he pretty much set the scene for "Deep Dark Truthful Mirror" with his colossal piano part – the Dozen played off his performance and so on. At best, it was like seeing a sketch turn into a painting.
By the time we left New Orleans, we had half of the record in the can. I had also asked Roger McGuinn to play on our next session in Hollywood after crashing into his dressing room at a French Quarter club in, what he has since generously referred to as, "high spirits". Not everything on this record was quite so well planned.
The Hollywood sessions featured several players who had worked on the "King of America" record in 1985; drummer, Jim Keltner, the bass players, Jerry Scheff and T-Bone Wolk plus Mitchell Froom on an array of strange keyboards such as the Chamberlain. T Bone Burnett and I had pretty much cast each them for their parts before we had left Dublin. Needless to say there were plenty of surprises during the execution.
Two musicians, who I had first heard in Tom Waits’ band, had a lot to do with the sound of these sessions. Marc Ribot doctored the bridge of his guitar with bulldog clips to get a kalimba sound on "Pads, Paws and Claws". He got well outside reason on "Chewing Gum" and "Let him Dangle" but played a delicate Spanish guitar on "God’s Comic". Michael Blair brought in a breaker’s yard full of metal junk and hubcaps plus a magician’s table laden with arcane percussion.
While we were putting marimbas and timpani on "Satellite" we found out that Burt Bacharach was working in the next studio. As far as I was concerned, this track was a shameless steal from Burt’s arrangement style. He graciously agreed to come in to listen to the track, seemed amused by a few touches and went on his way wishing us well. It was only when we were composing and recording together eight years later that I realised how very far "Satellite" was from his actual writing and arranging style.
My own instrumental contribution was limited to a few quirky overdubs – banging the bass pedals of a Hammond organ with my fists under the "live" guitar coda of "Baby Plays Around" and the daft Hofner bass line in the bridge of "God’s Comic". Most of my studio time went into singing and arranging.
There were other musicians who I was working with for the first time in the studio. Buell Niedlinger added double bass to "Any King’s Shilling" and both bass and cello to "God’s Comic". Jerry Marotta played the final drum parts on "Veronica" and "Let him Dangle" with the Heartbreakers’ Benmont Tench adding piano to the same two tracks. "Veronica" was still missing a bass part when we left California but we had been able to build "…This Town…" around Roger McGuinn’s Rickenbacker 12-string.
The case of missing bass parts was very quickly solved upon our arrival in London. My co-writer came in to add his famous Hofner bass to "Veronica" and the "McCartney/McGuinn/MacManus" trio was established when he went on to also play on "…This Town…".
Chrissie Hynde then added the kind of vocal harmony to "Satellite" that I had imagined for years and it was time to return to Hollywood for the mixing sessions.
During the early planning of this record, it was called "Pantomine Evil", in honour of my childhood nemesis, "Miss MacBeth" and another mad woman who was haunting England at the time. By the time I’d finished writing "Tramp the dirt down", the situation seemed too grim for that title. The album was also briefly called "The Beloved Entertainer" but this was relegated to a subtitle on the trophy plaque upon which my head appears to be mounted on the sleeve. The cover was not done by trick photography. I was actually made-up in clown face and had to poke my head through an opening in the backdrop, like one of those seaside amusements – always remembering not to scratch my face and smudge the greasepaint.
The artist and photographer, Brian Griffin, probably still has the macabre and comical production video of my disembodied head roaring and growling only to freeze in increasingly demented expressions – it would make a good short horror film. The fact that the shield that I was mounted on resembled the W.B. crest seemed a happy accident and an incidental comment on my departure from Columbia Records. This similarity was not lost on the W.B. legal department who threatened to block the design as it infringed the copyright of their trademark – even though the record was actually on their own label. Perhaps I should have taken this as a warning of darker days to come.
Reading all of this, it may seem a very eccentric way to make an album. At the time, I couldn’t write musical notation and this was a way of using the 24 track tape like piece of music manuscript – "writing" ideas in and then erasing them if they didn’t work. In fact, the demos on the second CD indicate that I had many of the parts worked out long before we began our travels. The execution on those versions is quite raw. Unsurprisingly, they sound as if I am making it up as I am going along. There are one or two lyrical variations that I later edited out and "Satellite" is played in an entirely different time signature. These ragged demos may actually be more to some people’s taste than the finished album.
Given the method of recording, there are no true "out-takes" from "Spike" except a version of "Stalin Malone" on which I recite the text, originally printed on the back of the record jacket, while the Dirty Dozen Brass Band play down the tune. I later abandoned the idea but this rough take is included for your amusement.
Returning to London after the "Spike" mixing sessions, I went into Wessex Studios to cut "B-sides" for the up-coming singles releases. The band on these sessions consisted of Pete Thomas on drums and Nick Lowe on bass. I played everything else. We put down "The Ugly Things", a song of Nick’s of the same vintage as "(What’s so funny ‘bout) Peace, Love and Understanding" and the Goffin/King tune, "Point of No Return", which I first heard on the Georgie Fame E.P., "Fame at Last". I also cut a solo version of John Sebastian’s "The Room Nobody Lives In", with an odd extended coda of de-tuned, delayed echo guitars. My favourite cut from this session is "You’re no good", a song forever associated in my mind with Liverpool’s mighty Swinging Blue Jeans. My version was recorded with a toy drum machine jammed through a Fender Twin Reverb, a kalimba and a tremelo guitar. "Put your big toe in the milk of human kindness" is a demo of a song originally written for a Disney movie. Mercifully, the Mouse declined the tune and I was able to cut it a few years later with Rob Wasserman and Marc Ribot for Rob’s album, "Trios". It now sounds to me as if I was attempting to write something like the Cahn/Van Heusen song, "High Hopes". The closest I ever got was "God’s Comic".
I’ve performed most of the songs on "Spike" many times in concert. I may have played some of them better than on this disc but there are all sorts of unusual holes in these recordings that I like. I really wouldn’t change a note. Without having broken out of the conventional style of band recording, I wouldn’t have known where to begin the next ten years.
T Bone Burnett and Kevin Killen shaped "Veronica" into a record that could be played on the radio. Evan English delivered a video clip that gave people a greater sense of the song’s content. The single went into the U.S. Top Twenty. If it had not done so then this album might have been counted amongst the most obscure in my catalogue. Instead of which, during its original release, it became the best-selling album of my career to date. When I listen to it now, this seems pretty curious – not because the songs are bad but because they are rather odd, each track being very different from the next. I’m not so sure that anyone would bankroll a record of this kind these days. So I am rather glad that we made "Spike" while I had the chance.

[johnfoyle]

http://209.85.135.104/search?q=cache:-4 ... -a&strip=1

Kevin Killen-
engineer / producer / mixer , posts to a techie forum-


10th February 2007

Tramp The Dirty Down and Any Kings Shilling were the first two songs i recorded for Elvis. It was a tough first day for me because at 7AM of the first day i was still wrapping up my first co-production with the wonderfully talented David Rhodes. We had been producing an album for a band called "Cactus World News". It was a classic eighties moment, jump into a taxi with tapes in hand, go to Heathrow airport, board a flight to Dublin to begin tracking "Spike". Frazzled and no sleep !!!

My only saving grace that day was the fact that it was a setup day , plus I was returning to my old haunt "Windmill lane". I knew the studio very well plus all the players hired were old friends. I pulled my assistant aside and appraised him of the situation and he truly covered my back that day.( I have tremendous respect for assistants, having come from that background myself. They are often the glue that hold a session together !)

It was a very strightforward setup, players arranged in a wide semi circle , with some baffles in between. For most traditional Irish music, the proximy of the players is very important as they really do feed off of each others energy.

Donal Lunny was the musical director for the band and we did a couple of run throughs at the end of the first day. Fresh and invigorated after a nights sleep we listened to the run through and it had a kind of spontaneous magic to it. It had a real weave to it and somehow Donal was able to thread the eye of the needle with a new guitar part that pulled the whole track together.

We spent one day on Any Kings Shilling and then EC, T-Bone and myself headed off to New Orleans to record the "Dirty Dozen Brass band." It was quite the start to a incredibly duiverse musical production.

Kevin

[johnfoyle]

I'm wondering if Brian Griffin's cover photography for Spike (here's an alternate shot from the Rhino re-issue booklet) -

was inspired by Mark Feldman's similar looking shot-



as seen on the back of the sleeve of a vinyl edition Randy Newman's 1979 album Born Again .

[And No Coffee Table]

Isn't Randy's look modeled on Gene Simmons?

[johnfoyle]

The Newman/Kiss thing is obvious ; I was more thinking of the framing and lighting etc. as regards a Costello/Newman hommage.

[johnfoyle]

The great Wardo assesses Spike -

http://everybodysdummy.blogspot.com/200 ... spike.html

[johnfoyle]

The covers photographer has a exhibition coming up -

http://www.englandgallery.com/exhibitionsfuture.htm

15 November—8 December 2008



BRIAN GRIFFIN: Photographs


Brian Griffin ‘has had a profound effect on photography in the last 30 years… he creates works of art that leave the viewer mesmerised’ (British Journal of Photography).

His portraits are renowned: ‘politicians, designers, singers… all undergo a magical metamorphosis in front of Brian Griffin’s camera’ (The Sunday Times). Portraiture is an important aspect of Griffin’s work, and his diverse career has encompassed both commercial and fine art photography, film, audio-visual performance, fashion photography and books.

Born in Birmingham in 1948, Griffin studied photography at Manchester Polytechnic’s School of Photography, where he was first able to encounter a myriad of artistic movements in the college library – from the Renaissance to Symbolism, Expressionism and Surrealism. His influences have emerged from film or painting, with the lighting in German Expressionist cinema and film noir a major inspiration.

Griffin started work as a freelance photographer in 1972. His TV commercials and music videos include a film documentary for Sir Paul McCartney in 2004. In 2006, he produced images for the corporate book and exhibition The Water People for Reykjavik Energy. For the 2007 State Opening of St Pancras Station, he produced the exhibition and book Team, creating powerful images of workers involved with the project. Magazines that Griffin has worked for include The Sunday Times Magazine, The Face, Time Out, The Observer Magazine and L’Uomo Vogue; and he has produced advertising images for many international companies, including British Airways, Sony, and Smirnoff Vodka. His many music industry clients have included Siouxsie and The Banshees, Elvis Costello, Iggy Pop, Ringo Starr, Peter Gabriel, Depeche Mode and REM.

Griffin has exhibited widely in Britain and abroad: in galleries, museums, photographic biennales and festivals. Highlights from his numerous exhibitions include Portraits of Our Time (1978) at the Photographers Gallery, London; Brian Griffin (1984) at the Olympus Gallery, Tokyo; 20 for Today (1986) at the National Portrait Gallery, London; Createurs d’Images Createurs de Mode (1988) at the Museé des Arts de la Mode, Paris; Towards a Bigger Picture (1988) at the Victoria & Albert Museum; Work (1988) at the National Portrait Gallery, London; Beyond the Portrait (1992) at Derby City Art Museum; Seeing Things (1992) at the Victoria & Albert Museum; People and the City (2003) at Birmingham Art Gallery & Museum; a retrospective: Influences (2005) at the Art Museum, Reykjavik, Iceland; and A Question of Identity (2005) at the National Portrait Gallery, London.

Brian Griffin’s work is held by British and international collections, including the Victoria & Albert Museum, London; the Arts Council of Great Britain; the National Portrait Gallery, London; the Museum Folkwang, Essen, Germany; the Birmingham Museum and Art Gallery, UK; and the Art Museum of Reykjavik, Iceland.


About the Gallery


England & Co was founded in late 1987, holding its first exhibition in April 1988. In 1999, the gallery expanded and moved within Notting Hill to a specifically designed and constructed gallery space at its present location on Westbourne Grove, London.

[johnfoyle]

Elvis wrote -

My favourite cut from this session is "You’re no good", a song forever associated in my mind with Liverpool’s mighty Swinging Blue Jeans. My version was recorded with a toy drum machine jammed through a Fender Twin Reverb, a kalimba and a tremelo guitar.

http://www.independent.co.uk/news/obitu ... 66589.html

Clint Ballard Jnr: Songwriter best known for 'The Game of Love' and 'You're No Good'

Thursday, 15 January 2009


Although little known outside the music industry, Clint Ballard Jnr was a successful pop songwriter, writing chart-topping records both in the UK and America, for Linda Ronstadt ("You're No Good"), the Hollies (I'm Alive"), Wayne Fontana ("The Game of Love") and Jimmy Jones ( "Good Timin'"). The version of "You're No Good" by the Swinging Blue Jeans is one of the key records of the Merseybeat era.

Ballard Jnr was born in 1931 inEl Paso. He played piano on a local radio station at the age of three and throughout his school years was regarded as a gifted musician. He directed fraternity choirs and dance bands and he graduated from the Western College (now the University of Texas) in El Paso with a degree in radio production.

He went to New York to further his career, and worked as a night-club pianist but was more intent on becoming a songwriter in the Brill Building at 1619 Broadway. On a trip to Washington DC in 1957, he was impressed by a duo called the Kalin Twins andwanted to manage them. He secured a contract for them with US Decca and their first single was his composition, a perfunctory but cheerful rock 'n' roll song, "Jumpin' Jack". They had a US Top 10 hit and a UK No 1 with "When", which was written by one of Ballard's friends, Paul Evans. Although the Kalins found Ballard very likeable, he was too devoted to his own songwriting to concentrate on their career. Curiously, he did not pass on any more of his own songs to them.

In 1958, he wrote "Ev'ry Hour, Ev'ry Day Of My Life", a UK success for the balladeer Malcolm Vaughan. The most successful version in America was also by a British artist, Vera Lynn. In complete contrast, he wrote the nonsensical "Ginger Bread", which became a US Top 10 hit for Frankie Avalon:

"You're full of sugar, you're full of spice,

You're kinda naughty but you're naughty and nice."

Ballard had further success when Mitch Miller and his Orchestra took "March From the River Kwai" into the US charts as he had written the B-side, "Hey Little Baby". This tune was also used as the theme for the World's Fair in Brussels in 1958. Ballard wrote "The Ladder of Love" for the doo-wop group the Flamingos, "Journey's End" for Frankie Laine and "In The Rain" for Billy Eckstine. He encouraged new talent and discovered Kenny Young, who wrote "Under The Broadwalk" for the Drifters.

Ballard often worked with other writers, notably Angela Riela,Hank Hunter and Fred Tobias, with whom he had a good year in 1960. They wrote the follow-up to Jimmy Jones' "Handy Man", "Good Timin'", a high-pitched semi-novelty song which topped the UK charts. It claimed that Christopher Columbus would never have discovered America if Queen Isabella hadn't hocked her jewelsin 1492: fortunately, she had good timin'. Also in 1960, they wrote aclassic western song for Patti Page, "One of Us Will Weep Tonight", in which two women are waiting for one or other of their partners to return from a gunfight.

Occasionally, Ballard made recordings himself and a single under the name of Buddy Clinton was released in November 1960. It featured two early Burt Bacharach songs, "Take Me To Your Ladder (I'll See Your Leader Later)" and "Joanie's Forever". The A-side, a novelty about 20ft women living on the moon, made No 115 on the US charts.

"A Very Good Year For Girls" would be seen as politically incorrect today but back in 1962 it was a popular song with three notable versions: the original from Johnny Tillotson and cover versions from David MacBeth and Brian Poole with the Tremeloes.

Ballard wrote "You're No Good" on his own. This soulful put-down of a cheating partner was recorded by both Betty Everett and Dee Dee Warwick, but it was a cover version by the Liverpool band the Swinging Blue Jeans in 1964 that put the song in the charts. Ballard wrote their subsequent single, "It Isn't There", which tried to capture the feeling of "You're No Good" and contained the prophetic line, "Something's missing, that certain feeling". Another song recorded by Warwick, the passionate "Gotta Get a Hold of Myself", was covered by the Zombies in 1966.

Ballard had specifically written"I'm Alive" for the close harmonies of the Hollies, but they passed on the song and it was recorded by another Manchester band, the Toggery Five. A few days later, the Hollies changed their mind and recorded the song. The Toggery Five's version was never released and the Hollies had their first No 1 hit.

In 1965, Ballard wrote "The Game of Love, a US No 1 and UK No 2 for the Manchester group Wayne Fontana and the Mindbenders. Later inthe year, he wrote further chart singles for them, "Just A Little Bit Too Late" and "She Needs Love". A Walker Brothers' styled ballad, "SpeakHer Name", was recorded by David and Jonathan in 1966. He also wrote songs for the film Love and Kisses (1965), starring Rick Nelson, but his attempts at writing stage musicals didn't get that far. He and Lee Goldsmith wrote a musical adaptation of the play Come Back Little Sheba but it never reached Broadway.

Ballard wrote several commercials, notably one for Greyhound buses, and his successful songs have had a life of their own. "You're No Good" became a standard after it was featured on Linda Ronstadt's album Heart Like a Wheel, and subsequently topped the US charts, and was featured in the 2008 film My Best Friend's Girl. "I'm Alive" has been used in campaigns for both Boots and Holland and Barrett, while "The Game of Love" was one of the songs played by Robin Williams' army disc jockey in Good Morning, Vietnam (1987).

Spencer Leigh

Clinton Conger Ballard Jnr, songwriter: born El Paso, Texas 24 May 1931; died Denton, Texas 23 December 2008.

[johnfoyle]

Spike is 20 years old , having been released on Feb.6 1989 . To mark that I tried, in early Jan'09, to get some reactions from the many musicians who guested on it. Most them have a web presence and I asked for,merely, a brief thought/memory/whatever. The response was poor ; a grand total of two .

Here,for what it's worth, they are .

Dónal Lunny


HI John,

my memories of recording with Elvis feel a lot more recent than 20 years. Being in the same space as Elvis brought home to me what a giant of a performer he is. His voice at normal pitch doesn't sound like it has much range. Then he cranks it up; it's as if it has to break out of a shell before it gets off the ground. And then when he goes for a high passage, out it comes as true and clear as a bell! Add to that his expression and his lyrics, and - as you already know - you have a very special artist.

I got a huge lift out of playing with him; powerful songs, pure conviction, great heart. Long may he flourish.

Best,
Dónal


Frankie Gavin

Hi John.
Elvis was a gentleman to work with and generous too.
I think it was my second collaboration outside of my Traditional Music background. The first one was with Phil Lynnot, and later with The Rolling Stones.
Working on Spike gave me a great kick start !!! Never looked back since !!
Thanks Elvis !!!
FG


If anyone else here want to persue this further - go for it!

[johnfoyle]

http://www.anglocelt.ie/entertainment/r ... own-right/


A legend in his own right

Friday, 7th October, 2016

Story by Damian McCarney

(extract)

“He invited me to do a couple of tracks on an album way back and, God that’s a long time ago, I can’t remember the name of the title,” says fiddle player Frankie Gavin of his contribution to an Elvis Costello album. “It was a single word in the title,” he says, inviting a prompt.
'Spike?,’ the Celt guesses, incredulous that he could forget any aspect of playing with one of the greatest songwriters these islands has ever produced.
“Spike, yep,” says the Connemara man casually.
That’s one of his best albums the Celt responds, now wondering if Frankie’s having us on. Surely playing with Costello would stand as a great achievement?
“It’s so long ago, but I suppose it really is a hell of an achievement, and I certainly felt that at the time as well. But then I went on to work with the rock 'n’ rollers, and then I did a recording with Stephane Grappelli the great jazz violinist, so it went from one thing to the next and I was a very lucky person to be involved with all those great people.”
Not giving up on Costello, the Celt begins to ream off Spike’s tracklist, asking Frankie to stop us if he recognises the song he played on - a musical identity parade of sorts.
“I don’t know... I haven’t a clue - when was that album made? It must be 30 years ago.”
'1989’, the Celt Googles.
“There you go, surely it will say in the credits anyway, it should do. I don’t even have a copy of the album myself would you believe?”
I don’t.
“If it’s there can you slip it in the post and I’ll give it back to you when I’m in Virginia?”
Ah, yes that’s why Frankie’s talking to the Celt, forgot in all the Costello chat. Frankie and his incarnation of De Dannan are playing the Ramor Theatre on Friday night. Should be good.

[And No Coffee Table]

Glue and Nails :: Elvis Costello & Marc Ribot on “Chewing Gum”

[Harry Lime]

Glue and Nails :: Elvis Costello & Marc Ribot on “Chewing Gum”

Good stuff. Thanks for sharing!

[wardo68]

My review, updated and expanded:
https://everybodysdummy.blogspot.com/20 ... spike.html