In the same way TPOE and SC were?

RE-MIXED??

Any advance? Rob? Are there 'new' versions of some tracks then, like on TPOE as Alex suggests?

I take back some of my last statement although some of the track times are slightly different.

It has been so long since I last listened to C&B that it's the remastering that is making it seem so different and clearer to me.

I've just sat down with both versions.

Shows that I don't play C&B often enough

Anyways apologies for any heart attacks or confusion I've caused.

So no it's not like TPOE augmenting,I think on double checking it sounds more well defined than the version I'm used to hence my confusion.

No worries - makes perfect sense Brian. I don't have much of an ear for these kind of subtleties anyway!!
Thansk for coming back tho'.

I'd agree that C & B is also one of my least played Foxx albums. Perhaps that will change once the new edition arrives through the door.

C&B i used to skip whole tracks of the old one as I wasn't keen on some of them.

This one I will play a lot more.

Having lyrics I can read has given me a new impetus to listen to the tracks I used to skip.

Received my copies yesterday, along with The Complete Cathedral Oceans.

Enough of a temptation to actually stay in of an evening, and an excuse to scribe another bowl of pretentious twaddle

So far I have played only Crash and Burn. In headphones, the album sounds absolutely superb, even though, like Brian, it's probably not one of my bestest favourites.

It's brilliant to have the lyrics now. Even though I have long since transcribed most of them, the ending of Ray 1 / Ray 2 has remained a mystery. For obvious reasons!!
It's a really clever piece of wordplay. Lots of intriguing phrases to put into an internet search engine at some point...

Keinholtz Starlight - anyone ??

Disc 2 is exceptionally good. I've always liked The Drive EP, so its an electrical pleasure to have re-mastered versions of the extra tracks on there, especially of course the rusty, lumbering and sybaritic monster that is Underwater Dreamsex*.

*Has anyone ever tried this? Thoroughly recommended - just watch out for the submerged vehicles...

To have this indulgence followed by the post-coital irregularity of the new track Labyrinth Generator really is lighting the cigarette on the pillow. OK its intricate and confusing, but such is John Foxx at his best.
This is a real gem, and for me it's the standout of the 'new' material.
Immaculate conception guys. Placed as it is with precision and due care as a bridge between the EP tracks and the LFAR material.
Gives it additional depth and presence by adding context. Transparent faces from the old-school. Almost like someone thought about it...

Joking aside, I am really impressed by the running order of disc 2 especially.

Broadway Submarine, as Brian suggests, is the most experimental of instrumentals. It's beautiful and complex - an unquestionaly female piece of music. Richly layered, full of quirks and foibles, yet charged with a sensual energy and delicacy that successfully manages to challenge and tease simultaneously.

Weird, some would say.
And that's what makes it so refreshing.

Storm Warning comes in waves of hisses and hum. It sounds at first like rain, then swarms of wading birds above the Norfolk mudflats. Then a queue of motorway traffic passing a theremin conductor. Ominous and brooding like a tiny, coloured, movie...

Wouldn't it be fun to sweep the studio floor that holds such diamonds in the dust and dog hair?

And here's where the sequencing works so well again - the soundtrack intro to Sex Video is a revelation. Was that really there all the time??

I'd forgotten the majesty of the live From A Room tracks too, so its great to hear these again, in a slightly different context. I can now hear echoes of Dance With Me in Broken Furniture.

Ooh - a link. A path threough the trees back to a familiar place in a different setting.
A similar scene began...

Wait a minute, didn't I say this wasn't my favourite album?

Reconsider: reflect: recall. The Golden Section Disc 2 opened my ears to all I had previously missed from the original album.
All of a sudden, Crash and Burn (Deluxe Edition) brings (at least) two of my all-tme Foxx Five onto the same album.

Ah, well. Maybe. Though... I guess - is that so?

I see

Cracking review Martin.

Never heard a track described as female before

I don't know if time has withered my resistance or the new Crash & Burn mastering has given me clarity but I finally get this album like I never did before.

That’s a lovely comment. Very interesting observations about the new material Martin, nice review.

I’ve had a go –

Edward Kienholz was initially a Los Angeles gallery owner who started to concentrate on his own art in the 1960’s. Working as an installation artist he used found objects, assemblages and figures cast from life. He is credited with contributing to a theory initially explored by Marcel Duchamp, by suggesting that ‘the idea’ for a work of art is ‘more important than the physically finished product’. By the 70’s this had become a major art movement with artists questioning the use of art and claiming that ‘the true’ work of art is not the finished object for exhibition, but rather, it is the concepts or ideas expressed from within it which are the true art.

When the Tate Liverpool opened in 1988 its first exhibition was called Starlit Waters, one of the exhibits was a glass of water contributed by Michael craig-Martin, which he had titled ‘An Oak Tree’. This was a typically conceptual piece of art, of which the end product was not the glass filled with water - the intention and purpose of the object and the title was actually to make the viewer consider the relationship between a glass of water and a tree.

Kienholz Starlit?

Got my copies today!!!