ELVIS COSTELLO Momofuku 2LP LOST HIGHWAY 2008 US orig+insert B0011109-01

	€		25
	$		28

THIS IS THE 2008 US ORIGINAL PRESSING on LOST HIGHWAY Records. PARTIALLY IN SHRINK GATEFOLD COVER + CARDBOARD INSERT. The cover is in EX condition: normal wear and without any major deterioration BUT light discolouration/wear on right corners [where missing shrink],  left spine is fully readable; please for details see photos (with and without flashlight). Vinyls in EX/NM condition [barely played].

IN ORDER TO AVOID MISUNDERSTANDING  WE ADVISE YOU TO ENQUIRE ABOUT POSTAGE COST BEFORE YOU ACTUALLY BID/PURCHASE THE ITEM

  PLEASE ASK FOR ANY INFORMATION

ELVIS COSTELLO AND THE IMPOSTERS

Elvis Costello arrived as a sneering spitfire, the smartest and meanest singer/songwriter in the first wave of 1970s British punk backed by the Attractions, a band who could match his ferocity. Soon, Costello galloped away from the loud, fast rules of punk, demonstrating his musical and verbal facility with Armed Forces, a 1979 album that contained "Oliver's Army," "Accidents Will Happen," and his cover of Nick Lowe's "(What's So Funny About) Peace, Love and Understanding," a trio of singles that turned into new wave standards. Such rapid musical evolution and switches in style became the rule in Costello's career, as he amassed a catalog that seemed to touch upon every conceivable genre of popular music.

 "MOMOFUKU"

tracklist: please, for tracklist see pictures

 2008      2LP     LOST HIGHWAY RECORDS     B0011109-01

 PRINTED IN U.S.A.  ORIGINAL PRESSING

 PARTIALLY IN SHRINK GATEFOLD COVER + CARDBOARD INSERT

 NOTES: This release also includes a punched cardboard template reading: MOMOFUKU

Matrix/Runouts also include not clearly readable third eching. It may be read as KMCATm

This is likely KPGaATM so added to runouts.

 Barcode and Other Identifiers

Barcode: (text) 6 02517 66584 2

Label Code: none

 LABEL: LOST HIGHWAY - PURPLE LABEL w/ARTWORK - MULTICOLOR TEXT

 Catalog on cover: B00011109-01

 Catalog on labels: B00011109-01

 Matrix / Runout (Side A, Etched): B0011109-01-A 17403.1(3)... KPGaATM

Matrix / Runout (Side B, Etched): B0011109-01-B 17403.2(3)... KPGaATM

Matrix / Runout (Side C, Etched): B0011109-01-C 17403.3(3)... KPGaATM

Matrix / Runout (Side D, Etched): B0011109-01-DRei 17410.4(3)... KPGaATM

 On labels: rim text "℗&© 2008 UMG Recordings, Inc.......Printed in the U.S.A."

 On Back Cover: Tracklist + Credits

 ℗&© 2008 UMG Recordings, Inc.......violation of applicable laws. Printed in the U.S.A.

 grading

RECORDS EX/NM but (please, read above description)

SLEEVE EX but (please, see pictures and read above description)

 Invited to sing on Jenny Lewis' follow-up to Rabbit Fur Coat, an album he praised publicly, Costello arrived in a studio where half of his Imposters were already working on the record -- along with Tennessee Thomas, the daughter of longtime Costello drummer Pete, and Lewis' boyfriend Johnathan Rice -- and before long a couple of new Elvis originals were cut alongside the planned songs for Jenny, and that snowballed into the quickly written, quickly recorded, quickly released Momofuku. That quicksilver speed is the key to Momofuku, and what separates it from all the albums Elvis Costello has cut in the decade since he signed with Universal. Almost every record from 1998's Painted from Memory on has had a conceptual thrust -- even 2002's When I Was Cruel was designed as a back-to-basics record -- but not this. It's merely a collection of 12 songs, all bashed out in a matter of weeks, not an album that's been labored over for months. Ironically enough, that rush of creative energy gives Momofuku a unified feel so it holds together as well, if not better, than such recent records as When I Was Cruel, which felt too deliberate in its classicism, or The Delivery Man, which was only wanting for the kinetic energy that this has in spades. That dynamic energy is down entirely to the speed of conception, how the record was cut in a short enough span so that Lewis, Rice, and Dave Scher (of Beachwood Sparks and All Night Radio) could lend harmonies throughout the record, lending a grace to the clattering "Turpentine." As the only female here, Lewis naturally stands out from the pack, but she's also given the opportunity to stand toe to toe with Costello, such as on the superb closer, "Go Away," as simple and addictive a song as he's written in years. Much of Momofuku is indeed this direct, at least in its construction -- applying equally to the old-fashioned ballad "Flutter & Wow" as it does to such lean rockers as "American Gangster Time" -- but the lyrics are as expertly crafted and wryly sophisticated as any latter-day Costello record. This sophistication can creep into the music as well, as the loungey puns of "Harry Worth," the clenched, dense rhythms of "Stella Hurt," and the cabaret shuffle of "Mr. Feathers" all recall a Spike recorded sans accoutrements. Again, that's where the speed of this whole enterprise works in its favor, as it makes these digressions seem funny, not fussy, and that's ultimately the charm of Momofuku: it captures a loose, natural Elvis Costello, somebody who hasn't been captured on record in years. It's still a Costello who plugs Lexus, writes operas, and plays jazz festivals, but here he's not trying to prove anything; he's just making music, and that's why it's one of his most enjoyable latter-day records...(AllMusic)