- Audio CD (21 Mar 2006)
- Number of Discs: 2
- Format: Import, Original recording remastered
- Label: Rhino
- ASIN: B000EBGEMI
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 182,662 in Music (See Top 100 in Music)
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Product details |
Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Deliever Us | |||
| 2. For Other Eyes | |||
| 3. Swine | |||
| 4. Expert Rites | |||
| 5. Dead Letter | |||
| 6. I Almost Had A Weakness | |||
| 7. Why? | |||
| 8. Who Do You Think You Are? | |||
| 9. Taking My Life In Your Hands | |||
| 10. This Offer Is Unrepeatable | |||
See all 20 tracks on this disc
| |||
| Disc: 2 | |||
| 1. She Moved Through The Fair | |||
| 2. Pills And Soap (Live) | |||
| 3. King Of The Unknown Sea (Live) | |||
| 4. Skeleton (Live) | |||
| 5. More Than Rain (Live) | |||
| 6. God Only Knows (Live) | |||
| 7. They Didn't Believe Me (Live) | |||
| 8. O Mistress Mine | |||
| 9. Come Away, Death | |||
| 10. Put Away Forbidden Playthings (Live) | |||
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See all 18 tracks on this disc
| |||
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Customer Reviews
Most Helpful Customer Reviews
11 of 12 people found the following review helpful
Format:Audio CD
This album has been around since 1993, stirring up division among Costello fans. I will not retread all of the tired arguments pro and con (even though I'm on the pro side) and concentrate on the added benefits of this reissue instead.
I had the pleasure of seeing and hearing Costello and the Brodskys perform this stuff live in March 1993 at the Amsterdam Concertgebouw, appropriately a classical music venue. As the Juliet Letters cycle is only about an hour's worth of music, the second set was filled out with some five or six encores of originals and covers, including a tune by Tom Waits, who was announced as an opera composer (in view of Robert Wilson's production of The Black Rider). I am delighted to find that these encores are finally made available to the general public in the form of nos. 2 through 7 on the second CD of this remastered collection.
The other tracks on the second CD are mostly guest appearances by Costello on albums by other artists like John Harle, Roy Nathanson and viol ensemble Fretwork. Personally, I have rather mixed feelings about this, because I already own five of the records that are excerpted here and prefer hearing the songs in their original context. Especially Roy Nathanson's wacky but accessible album Fire At Keaton's Bar & Grill should be heard in its entirety. The inclusion of two out of seven songs from Costello and Frisell's Deep Dead Blue EP also seems a bit pointless. On the other hand, Kurt Weill's Lost in the Stars, taken from a rather uneven tribute album, is a gem that deserves to be heard more often.
If you don't have all of this stuff, however, this is a most convenient way to round up these remarkable performances. If you really liked the original Juliet Letters and are curious about Costello's other exploits outside the confines of rock music, this expanded edition is certainly worth looking into.
I had the pleasure of seeing and hearing Costello and the Brodskys perform this stuff live in March 1993 at the Amsterdam Concertgebouw, appropriately a classical music venue. As the Juliet Letters cycle is only about an hour's worth of music, the second set was filled out with some five or six encores of originals and covers, including a tune by Tom Waits, who was announced as an opera composer (in view of Robert Wilson's production of The Black Rider). I am delighted to find that these encores are finally made available to the general public in the form of nos. 2 through 7 on the second CD of this remastered collection.
The other tracks on the second CD are mostly guest appearances by Costello on albums by other artists like John Harle, Roy Nathanson and viol ensemble Fretwork. Personally, I have rather mixed feelings about this, because I already own five of the records that are excerpted here and prefer hearing the songs in their original context. Especially Roy Nathanson's wacky but accessible album Fire At Keaton's Bar & Grill should be heard in its entirety. The inclusion of two out of seven songs from Costello and Frisell's Deep Dead Blue EP also seems a bit pointless. On the other hand, Kurt Weill's Lost in the Stars, taken from a rather uneven tribute album, is a gem that deserves to be heard more often.
If you don't have all of this stuff, however, this is a most convenient way to round up these remarkable performances. If you really liked the original Juliet Letters and are curious about Costello's other exploits outside the confines of rock music, this expanded edition is certainly worth looking into.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
6 reviews
10 of 10 people found the following review helpful
Unusual collaboration demonstrates that EC knows no boundaries
21 April 2006
Format:Audio CD
I was surprised to see that no one had written a review of one of Elvis Costello's finest albums in the 90's. "The Juliet Letters" certainly is an acquired taste; if you like contemporary classical music you'll enjoy this. The songs still have hooks even if they are played by violin vs. guitar or keyboard. The story behind this release is that there was an academic that answered letters written to Juliet (of the play Romeo and Juliet"). Never mind (as EC points out in his deluxe notes)that it was kind of creepy that someone would be writing letters to imaginery character much less one that had been "dead" for over 200 years.
This reissue features the original album on the first disc. The highlights there are "Swine","I Almost Had a Weakness" with a great melody, "This Offer is Unrepeatable" and "Jacksons, Monk and Rowe". The last track is the closest to a "single" the album would produce. EC wrote, co-wrote with the Brodsky Quartet (some members of the quartet also wrote material solo as well). The remastered sound has better detail than the previous edition but otherwise seems much the same. If Costello and the Brodsky Quartet overreach at times, it's the over reach of talent and ambition not pretension.
The bonus disc is the find here. Including tracks recorded for other projects with and without the Brodsky Quartet including Costello's favorite tracks from the "Deep Dead Blue" Ep released in 1993 recorded with Bill Frisell. We get a stunning version of "God Only Knows" recorded live with the Quartet as well as other material recorded live such as Michael Thomas' marvelous "Skeleton" and a powerful arrangement of the folk standard "She Moved Through the Fair" arranged by Quartet member Paul Cassidy. Two of Costello's collaborations with John Harle from the "Terror and Magnficience" CD are also included. We also get live recordings of "Put Away Forbidden Playthings" (a song that Costello was commissioned to write) as well as a trio of the Fire Suite pieces EC collaborated on.
This is a terrific reissue mixing a number of unusual collaborations on the second disc. While fans who loved "My Aim is True" probably won't be playing this a whole lot Costello fans that love his rich material and unusual collaborations over the years will. This makes an excellent companion piece to "My Flame Burns Blue" Costello's jazz-rock-orchestral album recorded live. That terrific and unusual album has a bonus disc with excerpts from Costello's fine contemporary orchestral piece "Il Sogno" conducted by Michael Tilson Thomas working with the London Symphony Orchestra as a bonus disc. Both of these releases are well worth picking up.
This reissue features the original album on the first disc. The highlights there are "Swine","I Almost Had a Weakness" with a great melody, "This Offer is Unrepeatable" and "Jacksons, Monk and Rowe". The last track is the closest to a "single" the album would produce. EC wrote, co-wrote with the Brodsky Quartet (some members of the quartet also wrote material solo as well). The remastered sound has better detail than the previous edition but otherwise seems much the same. If Costello and the Brodsky Quartet overreach at times, it's the over reach of talent and ambition not pretension.
The bonus disc is the find here. Including tracks recorded for other projects with and without the Brodsky Quartet including Costello's favorite tracks from the "Deep Dead Blue" Ep released in 1993 recorded with Bill Frisell. We get a stunning version of "God Only Knows" recorded live with the Quartet as well as other material recorded live such as Michael Thomas' marvelous "Skeleton" and a powerful arrangement of the folk standard "She Moved Through the Fair" arranged by Quartet member Paul Cassidy. Two of Costello's collaborations with John Harle from the "Terror and Magnficience" CD are also included. We also get live recordings of "Put Away Forbidden Playthings" (a song that Costello was commissioned to write) as well as a trio of the Fire Suite pieces EC collaborated on.
This is a terrific reissue mixing a number of unusual collaborations on the second disc. While fans who loved "My Aim is True" probably won't be playing this a whole lot Costello fans that love his rich material and unusual collaborations over the years will. This makes an excellent companion piece to "My Flame Burns Blue" Costello's jazz-rock-orchestral album recorded live. That terrific and unusual album has a bonus disc with excerpts from Costello's fine contemporary orchestral piece "Il Sogno" conducted by Michael Tilson Thomas working with the London Symphony Orchestra as a bonus disc. Both of these releases are well worth picking up.
4 of 4 people found the following review helpful
Brave, but not for everyone.
7 Jun 2006
Format:Audio CD
I give this a forth star because I still pull it out for the occasional listen. But it remains one of the most difficult CD's in Elvis' careening musical experimentation. What usually happens is I find myself wondering where these songs would have fit had they been recorded for other Costello albums. "Jacksons Monk and Rowe" obviously would have made it as a "Get Happy" song. "For Other Eyes;" "Imperial Bedroom." A folksy arrangement might have sent "Damnation's Cellar" to "King Of America." And so on and so forth....
But the song sequence works wonderfully and the playing of the Brodskys never sinks to pedestrian. These folks obviously understood that they were going to have to throw preconceived ideas about playing with a "rocker," just as Elvis was trying to (as he put it) avoid the dreaded "crossover" sound. My major gripe with the album is that Elvis' voice isn't always up to the task ("North" fares much better in that department). And anyone looking for a "typical" Costello platter is in for a major shock. Of course, anyone trying to define a "typical" Costello disc is probably going to have a rough go of it.....
That doesn't stop "The Juliet Letters" from featuring some fine work, including "The Birds Will Still Be Singing," which deserves a shot with a voice like Josh Groban's or Michael Buble's. Or maybe now that Elvis has his new beau, she'll do a full set of her favorites from the Costello/MacManus discography. Now wouldn't THAT be a hoot? (Think of the lush strings that abounded on "North," over a decade after "The Juliett Letters.")
The bonus disc has some fun things, including cuts from Costello's obscure "Deep Dead Blue" and - my personal favorite - he and the Brodskys covering "God Only Knows."
But the song sequence works wonderfully and the playing of the Brodskys never sinks to pedestrian. These folks obviously understood that they were going to have to throw preconceived ideas about playing with a "rocker," just as Elvis was trying to (as he put it) avoid the dreaded "crossover" sound. My major gripe with the album is that Elvis' voice isn't always up to the task ("North" fares much better in that department). And anyone looking for a "typical" Costello platter is in for a major shock. Of course, anyone trying to define a "typical" Costello disc is probably going to have a rough go of it.....
That doesn't stop "The Juliet Letters" from featuring some fine work, including "The Birds Will Still Be Singing," which deserves a shot with a voice like Josh Groban's or Michael Buble's. Or maybe now that Elvis has his new beau, she'll do a full set of her favorites from the Costello/MacManus discography. Now wouldn't THAT be a hoot? (Think of the lush strings that abounded on "North," over a decade after "The Juliett Letters.")
The bonus disc has some fun things, including cuts from Costello's obscure "Deep Dead Blue" and - my personal favorite - he and the Brodskys covering "God Only Knows."
2 of 2 people found the following review helpful
Great CD
18 Dec 2006
Format:Audio CD
I would say this CD takes a bit of time to get into and it requires a bit of an open mind but it has become a regular listen for me. Elvis Costello's unique and enjoyable vocal and lyrical style is certainly present and that's reason enough to recommend this CD to any Evlis Costello fan.
I can imagine some people may not like this CD so much. The sound of this album is for a particular taste and the sound/style of a string quartet is unwavering which may feel bland after a while to some ears. But there is nothing in poor quality about this CD and the composition is solid and creative throughout. They have gotten a lot of mileage out of a single instrumentation of 4 string instruments and a voice.
I didn't give it 4 stars because that would suggest I had a particular issue with the CD, which I really hadn't. If 4 1/2 were available I would select that.
I can imagine some people may not like this CD so much. The sound of this album is for a particular taste and the sound/style of a string quartet is unwavering which may feel bland after a while to some ears. But there is nothing in poor quality about this CD and the composition is solid and creative throughout. They have gotten a lot of mileage out of a single instrumentation of 4 string instruments and a voice.
I didn't give it 4 stars because that would suggest I had a particular issue with the CD, which I really hadn't. If 4 1/2 were available I would select that.
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