Japanese-only SHM-CD (Super High Material CD) paper sleeve pressing of this classic album from the British singer/songwriter and entertainer, originally released in 1971. SHM-CDs can be played on any audio player and delivers unbelievably high-quality sound. You won't believe it's the same CD! Universal. 2008.

Although it was viewed as one of Elton John's more lightweight efforts upon its 1975 release—possibly because it followed only half a year after the acclaimed Captain Fantastic and the Brown Dirt Cowboy (and partially because many thought the album was released to fulfill a contractual obligation)—Rock of the Westies appears in retrospect to be his last great rock album. It certainly does rock consistently harder than any other John album, with guitarist Davey Johnstone even getting cowriting credits (with John and Bernie Taupin) on the opening "Medley: Yell Help/Wednesday" and "Grow Some Funk of Your Own." Lyricist Taupin seems to be going off the deep end here at times with titles like "Dan Dare (Pilot of the Future)" and "Billy Bone & the White Bird," but "Island Girl" was another huge hit for the pair. And the CD version adds the wonderful pop gem "Don't Go Breakin' My Heart," which turned KiKi Dee into an eternal Trivial Pursuit answer. —Bill Holdship

Limited EP backs the title cut with'Almost Ideal Eyes', 'The Other End Of The Telescope' (per-formed by Sleeper) and 'Distorted Angel' (remixed by Tricky)Comes in a slipcase sleeve.***THIS IS SINGLE #4 IN A SERIES OF 4. OTHER 3 SELECTION #'SARE 249332, 25

British rock star Elvis Costello's score to Shakespeare's A Midsummer Night's Dream (Il Sogno was commissioned by an Italian ballet company, hence the title) is derived from the French impressionists, with touches of Duke Ellington, George Gershwin, and Igor Stravinsky. Recurring saxophone riffs mirror orchestrations by Serge Prokofiev and Maurice Ravel, while eerie ripples of cimbolom (a folkloric hammered dulcimer) are straight out of Béla Bartok. Costello's use of leitmotif tidily depicts characters and subplots; the fairies come across as a jazzy, sexy lot whose intervention in human affairs is selfishly mean-spirited rather than playful. The four human lovers are flummoxed by their own callowness long before they encounter the supernatural. The nobles seem like posturing windbags while the plebian worker/players are ponderously endearing. The LSO and Michael Tilson Thomas exult in the work's textures and climaxes. Even though the milieu is more cinematic than symphonic, this beguiling confection is light-years beyond most pop-classical crossover attempts. —Christina Roden

British rock star Elvis Costello's score to Shakespeare's A Midsummer Night's Dream (Il Sogno was commissioned by an Italian ballet company, hence the title) is derived from the French impressionists, with touches of Duke Ellington, George Gershwin, and Igor Stravinsky. Recurring saxophone riffs mirror orchestrations by Serge Prokofiev and Maurice Ravel, while eerie ripples of cimbolom (a folkloric hammered dulcimer) are straight out of Béla Bartok. Costello's use of leitmotif tidily depicts characters and subplots; the fairies come across as a jazzy, sexy lot whose intervention in human affairs is selfishly mean-spirited rather than playful. The four human lovers are flummoxed by their own callowness long before they encounter the supernatural. The nobles seem like posturing windbags while the plebian worker/players are ponderously endearing. The LSO and Michael Tilson Thomas exult in the work's textures and climaxes. Even though the milieu is more cinematic than symphonic, this beguiling confection is light-years beyond most pop-classical crossover attempts. —Christina Roden

Artier tendencies cranked up really high, Costello slaps together lots of weird noises, screeches gnomic lyrics, and even sings a proper tune once in a while. Virtually the definition of "failed experiment," Mighty Like a Rose is interesting but probably the least essential record in the man's catalog. —Rickey Wright

Includes session out-takes, demos and live material, with 26 tracks previously unreleased!

Including 4 songs NEVER RELEASED IN ANY FORMAT: "BLUE MINUTE," "CALL ON ME," "I DON'T WANT TO GO HOME" and "I HEAR A MELODY."

And the complete LIVE AT THE NASHVILLE ROOMS, AUGUST 7, 1977 concert recording, one of the earliest shows featuring the Attractions!

Collection compiled and fully sanctioned by Elvis Costello.

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Warner.

London-born Declan McManus, better known as Elvis Costello, has distinguished his remarkable career with a long and acclaimed string of artistically adventurous albums. this lyrically brilliant and melodically nimble singer-songwriter's penchant for exploring diverse genres and shifting musical personae is nowhere more front and center than on 1993's The Juliet Letters. Inspired by a collection of missives written by an Italian professor to Shakespeare's Juliet, this unique project fuses pop sensibilities and chamber music form, proving both avant garde and accesssible as Costello gave new meaning to the term "alternative music." Rhino. 2006.