New Musical Express, December 5, 1987: Difference between revisions
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Needless to say, it’s a variable feast, with thin gruel like ‘[[The Stamping Ground]]’, and other songs which rank, among his finest ever (like ‘[[Black Sails In The Sunset|Black Sails In the Sunset]]’, presumably from the ‘[[Trust]]’ sessions). Everything you could hope for, except ‘[[Party Party]]’. | Needless to say, it’s a variable feast, with thin gruel like ‘[[The Stamping Ground]]’, and other songs which rank, among his finest ever (like ‘[[Black Sails In The Sunset|Black Sails In the Sunset]]’, presumably from the ‘[[Trust]]’ sessions). Everything you could hope for, except ‘[[Party Party]]’. | ||
Ideally, what the Elvis junkies of the world need now is a studio set featuring the best and/or unlikeliest covers the man’s performed live over the years, from ‘[[All You Need Is Love]]’ to | Ideally, what the Elvis junkies of the world need now is a studio set featuring the best and/or unlikeliest covers the man’s performed live over the years, from ‘[[All You Need Is Love]]’ to ‘[[Sign 'O' The Times|Sign Of The Times]]’. But failing that, and dodgy bits notwithstanding, this latest batch of ‘Hail Mary’s and How’s Your Fathers’ is a treat. Our Idiot, Who Art in Brentford, blessed be he. (S) | ||
{{cx}} | {{cx}} |