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  1.  
    'he's getting a percentage across the album nonetheless.'

    Glad to hear that he's being recognised in some form for these songs.

    On another note Graham & Colin are on 6 Music's Radcliffe & Maconie show a week today (1pm BST) talking about Change Becomes Us

    http://www.bbc.co.uk/programmes/b01rhy5p
  2.  
    I'm really taken aback by this new album. O47 and RBT always felt not quite fully formed to me, like there was just a little tiny bit of something missing (though I liked them both - RBT particularly). and Send was spoiled for me because I already had listened to R+B12 to death. (which I enjoyed immensely in their "bite size" form) This album I'm fighting the urge to play it again immediately. Some pure goosebump-inducing moments on it. I hope this record is recognized as the great piece of work it is.

    and don't let Matt go, whatever you do.
  3.  
    Having just finished playing the album I think Wire have successfully re-contextualised songs that are 35 years old. I plan on writing a more fulsome 'review' once I have played it a few more times.
    But on first listen a huge thumbs up to Wire for keeping my ears a twitch after all these years. Watch this space....
  4.  
    Considering I have a longer wait than intended for the CD, I've given in and played the download files. Like most I'm impressed on 1st hearing (will try not to play too much until i get cd). Doubles I was hooked on 1st time i heard it on Soundcloud & Re-Invent left me cold like most of RBT. As for the rest? Well they'll take some playing, but I'm sure it's gonna be a grower!

    I have now breathed a sigh of relief that it is far removed from RBT & that Heaven next week will live up to it's name!!!! Roll on sunday!
  5.  
    stevethehouse: "I was never a big "5/10" fan but "Time Lock Fog" is a huge standout for me. They really nailed the atmosphere on that song."

    Completely agree. So far, this has been the biggest success in terms of realizing the early versions. It captures quite well that weird Wire capacity to be monotonous yet compellingly so.

    And I'll echo the thumbs up re. Bruce receiving a percentage. It seems a bit odd to me that he's not listed as one of the composers on several of these—there's enough familiarity to see the connection to the D&E and T&S songs—but a quiet recognition is better than none.
  6.  
    After one listen I am thoroughly impressed. (I also humbly retract my earlier statements about auto-tune.) It's brilliant the way the original songs come through. Like discovering an old masterpiece underneath a second newer painting. There's a hazy sheen that covers everything and has a Robin Guthrie like flavor to me, but it's restrained not overwhelming. One can only imagine what these would sound like at 115dB at a club. This should be on heavy rotation for quite some time.
    • CommentAuthorcc says...
    • (CommentTimeMar 18th 2013)
     
    "Interestingly, when Googling for reviews of the new LP I found a discussion of the new LP on this forum:

    http://forums.stevehoffman.tv/threads/new-wire-album-change-becomes-us-march-2013.303341/page-3"

    I began that thread! after getting the bulletin from the mailing list and then surfing over here to gather loose ends... (note also my current avatar).

    any idea how long it might be before the CD is in US shops? I couldn't begin to fathom the various fan "bundles," am really only interested in the core album...
  7.  
    Double thumbs up here.
    Really enjoying the record so far after a few spins. There's a lot going on under the bonnet so I can tell I'm going to enjoy studying this in detail and it's definitely taking up residency on the headphones. There's lots of texture and soundscapey stuff going on, and I'm guessing some of that is Matt getting stuck in with his fx pedals which adds some extra character I think.

    Favourite tracks so far are 'Keep Exhaling', 'Stork' , 'Magic Bullet' and I love 'Eels Sang', it's got the unhinged quality of something like 'I Feel Mysterious Today' and is it me or does Graham namecheck Simon Cowell? Its a good mix of what is recognisably 'early Wire' with the dreamy feel of RBT (agree with KLeigh88 definitely a shimmering Robin Guthrie feel in there somewhere) and there are some big 'Wire Plays Pop' moments on there too, and some bits where everyone hits a stompbox for a big roaring Pink Flag noise bit, and some shouty bits!. Something for everyone!

    I hope this gets lots of attention and does well. I think RBT surprised a lot of fairweather fans and I know a lot of people picked up on that record who might have only been familiar with the Harvest-era Wire, those same people should certainly enjoy this.

    new Wire, MBV and Bowie? Not a bad year for music so far.
  8.  
    Re Simon Cowell - check the "Eels Sang Lino" lyrics on this site - the original line in 1980 is "Simon Cow" - although whether Graham has slightly adapted the line for the present day is unclear.....
  9.  
    I'm only about half way through (listening on the iPod on the way to work this morning), and I stick by my earlier comment about Re-invent Your Second Wheel. Song of the year for me so far - absolutely wonderful, could've come straight off A Bell Is A Cup (which is my favourite Wire).

    B/W Silence is nice too, although not a huge step up from the version of Lorries on Not To. Always a terrific tune that one.

    Looking forward to the second half on the way home this evening...
  10.  
    "and don't let Matt go, whatever you do."

    Happily, he's now 'Wire' rather than 'some bloke who plays with Wire when they do gigs'.

    "Bruce receiving a percentage. It seems a bit odd to me that he's not listed as one of the composers on several of these"

    But, as I noted, he didn't write any of the songs. Why should he get a writer's credit any more than, say, George Gill or, for that matter, Matt or Rob? That he's getting recognition I think's a good thing (and this isn't on the quiet either—Colin's mentioned it in at least one interview I've read online).

    "does Graham namecheck Simon Cowell"

    Not according to Graham:

    A robin’s bad air spin, Courrèges was its designer
    Main mast red, bliss nurse bin liner, Heidi nil and eels sang (lino)

    Pagen hen coin, working yen, our kid was in West China
    Simon cow pink note E-minor, Heidi nil and eels sang (lino)

    No stinking Butlin’s Ian, playing cupid an angina
    i.e. brine, night sown too inky, Heidi nil and eels sang (lino)

    A pair of Stewart Graingers, henna brought back the old timer
    School mint tea, sackcloth inside her, Heidi nil and eels sang (lino)

    Miss Soul a poignant red, Bach wrote songs in Asia Minor
    Handy lion switch sale of panther, Heidi nil and eels sang (lino)

    Full lyrics will be online this week. There's some wonderful—sometimes funny (Magic Bullet) and occasionally sad/harrowing (Adore Your Island) writing on this album. Note that this is all explored in more depth in the special edition's book (which is a book, rather than some brief liner notes—quite a few thousands of words are in there).

    Good to hear people are enjoying CBU too. Magic Bullet and As We Go are my current faves, but there's nothing I dislike on this one.
  11.  
    Craig wrote: "But, as I noted, he didn't write any of the songs. Why should he get a writer's credit any more than, say, George Gill or, for that matter, Matt or Rob?"

    Not wanting to piss in the pool of good times here, but unless Bruce had no hand in the D&E songs, this argument seems like semantics. Bruce didn't help write, say, "Doubles & Trebles," but that song is more than just inspired by "Ally in Exile." Music and lyrics are almost a perfect match between the two. Were this to go to the courts, be it public opinion or of torts, I'm skeptical that many would buy the notion that he wasn't one of the writers (at least of that one; some, like "Second Wheel," are more obviously new creations).
  12.  
    "unless Bruce had no hand in the D&E songs"

    That's what I'm saying. According to Colin, Bruce did not write any of the songs and texts for the original tracks CBU's are based on/elements that were used. That's why he doesn't get a writing credit; but as a gesture of goodwill, he's still getting something from the release in recognition as having been there when the original tracks were worked on. Had he still been in the band today and done nothing further, he'd have likely gotten a 'music' credit. (CBU's credits are split between 'song', 'texts' and 'music', with Colin responsible for most of the songs, Graham responsible for all but one of the texts, and 'Wire' being credited for the music.)
  13.  
    In case anyone hasn't seen it yet, The Quietus has a nice piece on the evolution of CBU and various other historical things today here: http://thequietus.com/articles/11686-wire-interview-strange-world

    Good to see Matt (and Rob, for that matter) getting to have their say too.
  14.  
    "Note that this is all explored in more depth in the special edition's book (which is a book, rather than some brief liner notes—quite a few thousands of words are in there)."

    Talking of the book, will there be copies to buy at the Heaven show does anybody know? Or is it a strictly pre-order only item?
  15.  
    Craig wrote: "According to Colin, Bruce did not write any of the songs and texts for the original tracks CBU's are based on/elements that were used."

    Ah, okay, I see what you mean now. I've gone on the assumption that Bruce was an active participant in the writing of the original D&E material (the shared writing credits for that album are just a legal formality then?). If that's the case, yes, this assignment of credits, plus the percentage offered to Bruce seems entirely sensible. Merci for the clarification.

    (Kinda surprising that he didn't write any of the D&E material. Suggestive, perhaps, that he was becoming disengaged from the band at that point.)
  16.  
    "the shared writing credits for that album are just a legal formality then"

    Not so much a legal formality as a decision the band and/or its management took at the time regarding assignment. Other Wire albums have that kind of split, despite those not being the real credits. I also seem to recall that during the PF reissue, credits were reworked, because the original ones weren't accurate regarding who did what at the time.

    "Good to see Matt (and Rob, for that matter) getting to have their say too."

    Again, plenty of that will be in the special edition's book. All of the band members have their say about the way the album came to be. It's interesting stuff.
  17.  
    > I also seem to recall that during the PF reissue, credits were reworked, because the original ones weren't accurate regarding who did what at the time.

    Right—the last chapter of Wilson Neate's Pink Flag book frames that as an essential tension within Wire, with Colin and Bruce occupying opposite poles, and as the final straw re. Bruce's departure from the band. Fascinating and a bit depressing all at once.
  18.  
    The Quietus interview is a good 'un... thanks for sharing Dr Up.

    Colin's comment about the Hibernian Club version of 'Advantage of Height' is spot on... been playing this set a bit recently (a gig that I was there for so always a bit special to hear again).

    One of the things I always loved about seeing the band live (they need to come back to Atlanta so I can stop using past tense!) was that you never quite knew what you were going to hear as the songs changed from tour to tour.

    'AoH' is one of those where there's 3 or more different versions out there and all of them are great in their own way.
  19.  
    Assuasive sublime stuff...roll on Sunday...