Artist |
Flying Lizards |
Album Title: |
The Flying Lizards |
Album Cover: |
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Primary Genre |
Rock: General Rock |
Format |
CD |
Released |
00/00/1979 |
Reissue Date |
11/25/1995 |
Label |
Virgin Records Ltd. |
Catalog No |
VJCP-17501 |
Bar Code No |
4988006714083 |
Packaging |
Jewelcase |
Tracks |
1.
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Mandelay Song (2:35)
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2.
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Her Story (4:44)
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3.
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TV (3:53)
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4.
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Russia (6:38)
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5.
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Summertime Blues (3:33)
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6.
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Money (5:52)
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7.
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The Flood (4:57)
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8.
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Trouble (2:50)
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9.
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Events During Flood (3:36)
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10.
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The Window (5:26)
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11.
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All Guitars (2:42)
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12.
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Tube (5:09)
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13.
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Money (Single Edit) (2:32)
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Date Acquired |
12/12/1998 |
Personal Rating |
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Acquired from |
Amazon |
Purchase Price |
17.00 |
Web Links |
All Music Guide Entry: Discogs Entry: |
Notes |
? 1995 Virgin Records Ltd.
Re-release with 3 extra tracks (11-13) of the original album recorded at Berry Street and Brixton, London, and released in 1980.
Additional recordings made in New York, Munich, Maidstone and in transit.
Manufactured by Toshiba EMI Ltd. in Japan.
Licensed by Virgin Records Ltd., England.
A 20bit 88.2kHz mastering.
Issued in a standard jewel case with a 20-page booklet mainly in Japanese.
foobar2000 1.3.6 / Dynamic Range Meter 1.1.1
log date: 2015-01-14 19:36:43
--------------------------------------------------------------------------------
Analyzed: The Flying Lizards / The Flying Lizards
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -1.04 dB -14.42 dB 2:36 01-Mandelay Song
DR13 -0.05 dB -15.08 dB 4:44 02-Her Story
DR11 -0.99 dB -15.16 dB 3:54 03-TV
DR14 -0.13 dB -15.80 dB 6:38 04-Russia
DR11 -2.44 dB -16.95 dB 3:34 05-Summertime Blues
DR11 -0.01 dB -14.05 dB 5:52 06-Money (That's What I Want)
DR12 -0.36 dB -13.37 dB 4:58 07-The Flood
DR13 -1.21 dB -16.43 dB 2:51 08-Trouble
DR9 -2.34 dB -15.29 dB 3:36 09-Events During Flood
DR12 -0.01 dB -14.65 dB 5:26 10-The Window
DR10 -1.72 dB -16.33 dB 2:43 11-All Guitars
DR12 -2.49 dB -16.86 dB 5:10 12-Tube
DR14 -0.04 dB -15.63 dB 2:32 13-Money (That's What I Want) (single edit)
--------------------------------------------------------------------------------
Number of tracks: 13
Official DR value: DR12
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 930 kbps
Codec: FLAC
================================================================================
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Reviews |
All Music Guide Review:
Review by Mark Deming
In the late 1970s, composer and producer David Cunningham was savvy enough to cloak his experimental music in the disguise of a novelty record, at least for a while; his fractured deconstructions of Eddie Cochran's "Summertime Blues" and Barrett Strong's "Money," released under the moniker the Flying Lizards, managed to inch into the pop charts because folks thought they were some sort of musical joke, even though Cunningham's wit didn't negate the seriousness of his musical ambitions. After the international success of "Money," Virgin Records wanted a Flying Lizards album to go along with it, and the resulting LP was where Cunningham's cred as an artist ran up against his instincts as a pop satirist. The principle reason "Money" became a left-field hit was that even though the song had been bent within an inch of its life, it still had a catchy hook and, if you wanted to, you could dance to it. That can't honestly be said for the new material Cunningham and his associates put together for the album; except for Bertold Brecht and Kurt Weill's "Der Song von Mandelay," which doesn't have an honestly memorable hook, the new tracks are all originals and they're informed by the space and anything-goes vibe of dub instead of radio-ready pop, and while they're intelligent and well-executed, they're not especially compelling. Through the soundscapes that dominate the second half of this album are more interesting to talk about than to hear, at least they're better than the vocal tracks closer to the beginning, which sound both pretentious and musically flawed. The Flying Lizards' first album unwittingly followed one of the greatest traditions of '50s and '60s pop -- take a hit single, surround it with a whole bunch of filler less interesting than the hit, and presto! You have an album. Too bad Cunningham didn't prove to have as much vision as, say, Count Five or the Royal Guardsmen, who did better with the quickie album concept than he did.
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