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DISCID=8f09550b
DTITLE=Marshall Crenshaw / #447
DYEAR=1998
DGENRE=Rock
TTITLE0=Opening
TTITLE1=Dime A Dozen Guy
TTITLE2=Television Light
TTITLE3=Glad Goodbye
TTITLE4=West Of Bald Knob
TTITLE5=Tell Me All About It
TTITLE6=Ready Right Now
TTITLE7=Eydie's Tune
TTITLE8=T. M. D.
TTITLE9=Right There In Front Of Me
TTITLE10=You Said What?
EXTD=Originally Released September 28, 1999\n\nAMG EXPERT REVIEW: No o
EXTD=ne has had a bumpier career ride than Marshall Crenshaw. Hailed a
EXTD=s the next big thing, by his second Warner Bros. album he was alr
EXTD=eady yesterday's news, being fed to this producer and that produc
EXTD=er in the company's quest for the big crossover hit. In the meant
EXTD=ime, Crenshaw went through a severe case of writer's block, funne
EXTD=ling what little did come out into movie soundtracks and a succes
EXTD=sion of disjointed albums that sold less and less with each relea
EXTD=se. He switched labels and finally found a good fit at the small 
EXTD=independent Razor & Tie imprint. There, he's released three fine 
EXTD=albums in a far more relaxed manner that hearken back to his earl
EXTD=iest -- and arguably his best -- recordings. #447, Crenshaw's fou
EXTD=rth release for Razor & Tie, stands tall as one of his finest alb
EXTD=ums, as well as his most ambitious and perhaps perfectly realized
EXTD=. The big news is the wealth of great original material, plus Cre
EXTD=nshaw's newfound interest in guitar textures, giving this album a
EXTD= complex weave of interesting tones that literally leap out of th
EXTD=e mix. He's also playing a lot more guitar than on his early side
EXTD=s, including three delightful instrumentals. His style shows him 
EXTD=to be something of a cross between Kenny Burrell, Danny Gatton, a
EXTD=nd Grant Green. But with Crenshaw, the pop hook's the thing, and 
EXTD=tunes like "Dime a Dozen Guy," "Television Light," "Glad Goodbye,
EXTD=" and "Right There in Front of Me" do not disappoint. He hasn't s
EXTD=ounded this confident and relaxed on a record in a long time, and
EXTD= this disc spotlights his talent in a way that makes you smile as
EXTD= you're singing along with a new song that you've never heard bef
EXTD=ore -- perhaps the highest praise of all. For his longtime fans, 
EXTD=this is Marshall Crenshaw firing on all four cylinders, doing wha
EXTD=t he does best.  -- Cub Koda\n\nAmazon.com Editorial Review\nPop-
EXTD=rocker Marshall Crenshaw's output--eight studio albums and a coup
EXTD=le of collections of odds and ends over his nearly two-decade rec
EXTD=ording career--isn't the most prodigious in terms of size. But ev
EXTD=en the least ambitious of his records, such as #447, are suffused
EXTD= with a sweet puckishness that's never at odds with the resigned 
EXTD=tone he often favors. Where 1996's Miracle of Science made up for
EXTD= a paucity of new songs with imaginatively chosen covers (Ray Pri
EXTD=ce, Dobie Gray, Grant Hart), #447 fills space with three smooth i
EXTD=nstrumentals that suggest some smart indie-film music supervisor 
EXTD=should hire Crenshaw. (He supplied music for the short-lived sitc
EXTD=om Men Behaving Badly and was seen in La Bamba and Peggy Sue Got 
EXTD=Married.) Among the additions to his seemingly endless catalog of
EXTD= relationship-crisis numbers are "Dime a Dozen Guy" and "Glad Goo
EXTD=dbye," while "T.M.D." (presumably titled "Truly, Madly, Deeply" b
EXTD=efore Savage Garden beat him to the punch) is a rarity on this re
EXTD=cord: a song about being happy in love. Go figure. --Rickey Wrigh
EXTD=t\n\nHalf.com Album Notes\nThis fine album finds Crenshaw moving 
EXTD=through middle age with grace and ease. Eschewing punched-up radi
EXTD=o friendly mixing and mastering, this set embraces a warm sonic m
EXTD=iddle. #447 is full of a rich, woody resonance--in fact there's a
EXTD= string bass on many of the songs. Crenshaw still turns out wonde
EXTD=rful and bracing pop reveries ("Right There In Front Of Me," "Tel
EXTD=l Me All About It"), but he has also fashioned some somber and sl
EXTD=ow numbers ("Dime A Dozen Guy," "Television Light"), as well as a
EXTD= few gorgeously moody instrumentals ("Eydie's Theme," "West Of Ba
EXTD=ld Knob," "You Said What??").\nWhen Crenshaw burst on the scene i
EXTD=n the early '80s, he was a breath of radio-ready fresh air. That 
EXTD=he's managed to evolve into as compelling a songsmith without aim
EXTD=ing his material so directly at the shine and sheen of the hit pa
EXTD=rade, is a testament to his enduring and evolving artistry.\n\nIn
EXTD=dustry Reviews\n...'60s guitar-chord progressions and hurt-puppy 
EXTD=love themes....but this is Crenshaw for Y2K, a summation of his m
EXTD=any strengths and remarkably few weaknesses....Keep listening - i
EXTD=t only gets deeper, richer, and more enjoyable. - Rating: A-\nEnt
EXTD=ertainment Weekly (10/15/1999)\n\n\nAMAZON.COM CUSTOMER REVIEW\nH
EXTD=ighly Underated, August 9, 2002\nReviewer: Tyler "tagnusf13" (Kin
EXTD=gston, MA United States)\nMarshall Crenshaw's 1999 release, "#447
EXTD=" is dismissed by most as a "good" or "not bad" record. I must sa
EXTD=y, that i couldn't disagree more. This record includes three inst
EXTD=rumentals, all of which will be pleasing to the ears of lounge ja
EXTD=zz afficianados. Some say tat three is far too many, however they
EXTD= act as perfect segues between three or four of Marshall's soothi
EXTD=ng melodies. All tracks standout as well done singer sonwriter co
EXTD=mpositions in vain of Warren Zevon and Jackson Browne. My favorit
EXTD=e is "Television Light." The lyrics provide 1000 pictures of surb
EXTD=urban evenings in Autumn. This album is highly underated! Should 
EXTD=be considered a classic.\n\n\nAMAZON.COM CUSTOMER REVIEW\nGood Nu
EXTD=mber, November 9, 2001\nReviewer: "leeleedee" (Lexington, Kentuck
EXTD=y Cincinnati)\nCrenshaw's last one, "Miracle of Science," was une
EXTD=ven but its highlights were just about as good as anything he had
EXTD= done before. "Seven Miles an Hour" I was actually addicted to pl
EXTD=aying for a while, and his take on Grant Hart's "Twenty-Five Fort
EXTD=y-One" was excellent. Instrumental was good too. Some of the othe
EXTD=r stuff was, for me, too Nashvilled-out, "sincere" as some songwr
EXTD=iter playing for the industry rubes at Nashville's draggy Bluebir
EXTD=d Caf? (Crenshaw's been recording in Nashville for a while now, w
EXTD=ith Brad Jones). One good thing about Marshall Crenshaw is that h
EXTD=e was never some singer-songwriter; he was a rocker; and on the l
EXTD=esser "Miracle" cuts ("There and Back Again," "Only an Hour Ago")
EXTD= he began to drag me. Some of the songs on "#447" affect me the s
EXTD=ame way, but on the whole this is a better record, "mature" and "
EXTD=well-played" with a rueful edge. Marshall Crenshaw is, as we all 
EXTD=are, gettin' older, losin' his hair, and he's doing the best he c
EXTD=an. As a craftsman (another odious Nashville term, but what the h
EXTD=ell) he has no peer, at least in the realm of the post-Beatles co
EXTD=lloquial popular song. "Dime a Dozen Guy" and "Glad Goodbye" and 
EXTD="Right There in Front of Me" are all prime and the instrumentals 
EXTD=are actually quite pleasant, if indicative of the vaguely jazzy a
EXTD=rea that so many power-poppers of a certain age get into (Crensha
EXTD=w isn't as much fun live as Alex Chilton but he makes better reco
EXTD=rds). With Chilton, it's very hit-or-miss, but Crenshaw seems to 
EXTD=still enjoy making nice-sounding albums. Isn't that a Mellotron o
EXTD=n "Glad Goodbye"? I guess I have just about all of Crenshaw's rec
EXTD=ords, give or take a few, and this is, like, the third-best after
EXTD= his first two--tell the truth, I like it better than "Downtown."
EXTD= It's nice to know Marshall Crenshaw is around.\n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nMarshall's most experimental work, September 19, 
EXTD=2000\nReviewer: Jeffrey T. Powell "Web developer, music fan" (New
EXTD= York, NY United States)\nPeople who have just recently purchased
EXTD= MC's new "Best of" CD, which is fantastic, may now be interested
EXTD= in building a Marshall Crenshaw collection. This CD may surprise
EXTD= or possibly disappoint those who have been digging on his best o
EXTD=f album for a few weeks and are looking for something similar. Th
EXTD=is CD takes awhile to grow on you, but once it does, you will enj
EXTD=oy seeing a different side of Marshall.\nMarshall's last two stud
EXTD=io CD's have highlighted him as a musician - a brilliant guitar p
EXTD=layer whose use of guitar effects and complex technique has certa
EXTD=inly evolved in the last decade. Marshall's mostly guitar solo-le
EXTD=ss early work has become a thing of the past, as his most recent 
EXTD=work has centered on his playing more than his ability to write a
EXTD= perfect two or three minute pop tune. The music here is much mor
EXTD=e textured and experimental, although Marshall's stamp is certain
EXTD=ly on these songs.\n\nLyrically, this CD leaves a little to be de
EXTD=sired. However what is most present here is Marshall's incredible
EXTD= (and continually evolving) prowess as a musician. All of the dru
EXTD=m and bass tracks are Marshall himself, as is most of the guitar.
EXTD= Other musicians, mainly string players and keyboardists (includi
EXTD=ng the wonderful David Sancious), add flourishes but musically, t
EXTD=his album is almost all Marshall.\n\nThe instrumentals are a trea
EXTD=t. The jazz-inflected "You Said What??" is fantastic, and each in
EXTD=strumental shows Marshall has been spending a long time perfectin
EXTD=g his technique.\n\n"Television Light" and "Dime A Dozen Guy" are
EXTD= both gems and trademark Crenshaw pop tunes with a modern edge, a
EXTD=nd would have fit in well on the best of CD.\n\nBut those expecti
EXTD=ng a duplicate of his first two albums will be disappointed. This
EXTD= CD shows a much more experimental side, and if you are ready to 
EXTD=explore that, then you will enjoy this.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nNot a home run, but still good, September 3, 2000\nReview
EXTD=er: bruce horner (San Francisco, CA USA)\nPerhaps as a diehard Cr
EXTD=enshaw fan I'm willing to give him more slack than most, but I re
EXTD=ally like this album, flaws and all. While it's clearly not nearl
EXTD=y as good as Miracle of Science, and three instrumentals seem lik
EXTD=e two too many, there are some solid songs here that rank right u
EXTD=p with anything he's done over the past 15 years or so. "Dime A D
EXTD=ozen Guy," "Tell Me All About It," "T.M.D." and "Right There In F
EXTD=ront Of Me" would have made a killer EP. The Steely Danish "You S
EXTD=aid What??" is the best of the instrumentals, though the others g
EXTD=row on you. Clearly Marshall is someone who needs plenty of time 
EXTD=to recharge his lyric-writing batteries, and perhaps he should ha
EXTD=ve waited another year or two before plunging into another album,
EXTD= but this still wears better than his third or fourth albums, or 
EXTD=the out-of-print Life's Too Short. My main complaint is that the 
EXTD=otherwise fine "Television Light" and "Glad Goodbye" go on for to
EXTD=o long; even on a short album, the songs always benefit from Cren
EXTD=shaw's customary economy. It is good to see him continuing to bra
EXTD=nch out musically, and I hope to someday see his name on a movie 
EXTD=score.\n\n\nAMAZON.COM CUSTOMER REVIEW\nCrenshaw's best since Dow
EXTD=ntown and Life's Too Short..., August 29, 2000\nReviewer: Wayne K
EXTD=lein "wtdk" (Fairfield, CA United States)\nUnexpected and full of
EXTD= interesting twists and turns #447 is one of Crenshaw's most rewa
EXTD=rding albums. He manages to expand on his skills as a song writer
EXTD=. Even the two instrumentals have merit and work within the conte
EXTD=xt of the album. Most folks expecting Marshall to keep churning o
EXTD=ut material like his first album (which is great by the way) will
EXTD= be sadly disappointed. Those that want to hear Marshall try some
EXTD=thing new and tag along for a fun ride are in for a treat.\nThe o
EXTD=pening track sets up the playful nature of the album and also hig
EXTD=hlights the more experimental nature of the #447. Nearly every tr
EXTD=ack is a winner. Highly recommended along with Downtown, Field Da
EXTD=y (and underrated classic--again if you expect Marshall to produc
EXTD=e the same stuff by rote then you'll be surprised)his self titled
EXTD= debut and Life is Too Short (if you can find it).\n\n\nAMAZON.CO
EXTD=M CUSTOMER REVIEW\nbest kept secret, July 26, 2000\nReviewer: J. 
EXTD=Cowans (Brooklyn, NY USA)\nMost people seem to know only of Marsh
EXTD=all Crenshaw's early 80s music, but 447 is as good as his early r
EXTD=ecords, and sounds better to boot. The instrumentation is fuller 
EXTD=-- lots of good keyboard work on this disc -- and the arrangement
EXTD=s are full of interesting touches. Of course, the songwriting is 
EXTD=top-notch as usual. Only the first cut on the disc is weak. A mus
EXTD=t for anyone who finds well written pop songs all too rare lately
EXTD=.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSounds Unfinished, June 25, 20
EXTD=00\nReviewer: Kenneth Parker, Jr. (Newburgh, NY USA)\nComing afte
EXTD=r the strong and rocking Miracle of Science, this one is a let do
EXTD=wn. It sounds musically and lyrically unfinished, with a murky so
EXTD=und. Tough to put into words, but this lacks the cohesion of his 
EXTD=other albums. The instrumentals are fine, but maybe he should do 
EXTD=a whole album of them and leave them off a regular album. Here, t
EXTD=hey come off as filler. I'm still a devoted fan, though!\n\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nAnother collection of home demos?, June 
EXTD=15, 2000\nReviewer: Jonathan B Whitcomb "Emery's Misery" (New Ham
EXTD=pshire USA)\nMarshall Crenshaw is one of those guys you complain 
EXTD=should be hugely successful, but are secretly glad you're in his 
EXTD=small circle of fans. In 1998 he treated us to "The 9 Volt Years"
EXTD=, a collection of home demos and was apparently seduced by its ro
EXTD=ugh charm because this album has the feel of a collection of home
EXTD= demos rather than a studio album.\nI thought 1996's "Miracle of 
EXTD=Science" was a very strong pop album. #447 has some pop elements,
EXTD= but Marshall Crenshaw takes this one in a different direction. I
EXTD=t has a more rootsy feel, and the production is murkier. And whil
EXTD=e I admire Crenshaw for taking up the drums, his drumming gives t
EXTD=his album more of a garage band feel than when he used studio dru
EXTD=mmers.\n\nThe album opens with a snippet of a sloppy swing rave-u
EXTD=p with a spliced in backwards-masked string break. The song lurch
EXTD=es to a halt before it really gets going. It sets the tone for th
EXTD=e album, and you can tell Crenshaw is in an experimental mood.\n\n
EXTD="Dime a Dozen Guy" is a Latin tinged roots rocker that sounds lik
EXTD=e a slightly grungy Buddy Holly. "Television Light" has a Lucinda
EXTD= Williams feel, with a strummed mandolin and fiddles playing over
EXTD= crunchy Fender guitars and bongo drums.\n\n"Glad Goodbye" has a 
EXTD=very roots-rock feel with a Dobro riding over a base of rolling t
EXTD=oms, a hihat clap and tambourine. Oddly, into the mix comes a Mel
EXTD=lotron string counter melody which I find very distracting and ou
EXTD=t of place, particularly since he uses real violins and fiddles t
EXTD=o good effect elsewhere in the album.\n\n"West of Bald Knob" is a
EXTD= pretty, lazy instrumental featuring a lead guitar line playing o
EXTD=ctaves. But oops, here comes the Mellotron flute! "Tell Me All Ab
EXTD=out It" is more typical of MC's output over the last 10 years, bu
EXTD=t the drumming is sub-par. The ZZ Top inspired "Ready Right Now" 
EXTD=and the instrumental "Eydie's Tune" are pleasant if not remarkabl
EXTD=e. "T.M.D." is another typical MC pop song, again spoiled by buzz
EXTD=y Mellotron strings. "Right There In Front of Me" recalls MC's fi
EXTD=rst album's optimism, if not its hooks. The album closes with "Yo
EXTD=u Said What" an instrumental with the most evocative melody of th
EXTD=e bunch, marred only by the sloppy drumming.\n\nMy advice to the 
EXTD=shopper is to consider this a collection of demos of Marshall Cre
EXTD=nshaw's B material. If you're a fan you should find them interest
EXTD=ing. Otherwise, seek out "Miracle of Science".\n\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nAvoid this one, May 17, 2000\nReviewer: Tim Weber 
EXTD=(Iowa)\nThe last Marshall Crenshaw album of the '90s is as nondes
EXTD=cript as its title. What happened? After a rock-solid Razor & Tie
EXTD= debut with "Miracle of Science" that was as encouraging as could
EXTD= be, Crenshaw produces this mediocre effort. It's as if he decide
EXTD=d he was tired of being tuneful. Some noodling, some instrumental
EXTD=s that don't really go anywhere, and few memorable tunes to hang 
EXTD=onto. I suppose he was trying something new, which is commendable
EXTD=, but think it through first and come up with strong songs and I'
EXTD=ll follow you anywhere, buddy. Not this, though; this went to my 
EXTD=local used CD store.\n\n\nAMAZON.COM CUSTOMER REVIEW\nWorth sifti
EXTD=ng thorough for fans...., March 18, 2000\nReviewer: A music fan\n
EXTD=Television Light is the one of those songs I have to play tem tim
EXTD=es straight to get over. It's one of the best he's ever done. The
EXTD= record is spotty, but woth mining for the goodies. Those new to 
EXTD=Marshall should do what long time fans did - start at the beginni
EXTD=ng!\n\n\nAMAZON.COM CUSTOMER REVIEW\nStand up (bass) for Mr. Cren
EXTD=shaw, December 9, 1999\nReviewer: jeffery k. frangione (ROCKville
EXTD=, Maryland, USA)\nAlthough I agree that as far as running times g
EXTD=o, this effort is a bit short, but there are the usual gems we ha
EXTD=ve come to count on from M.C. With surf guitar sounds on "Dime a 
EXTD=Dozen Guy," to the instant classic "Television Light" (By the way
EXTD=, this was originally titled "What I didn't Want to Do"), this is
EXTD= trademark Crenshaw--not to imply he doesn't flirt with several s
EXTD=tyles. Instrumentals are sprinkled throughout, and the moodiness 
EXTD=of the album ebbs and flows. Tell me that "Right There In Front o
EXTD=f Me" wasn't lifted from Mary Jean & 9 Others sessions and I woul
EXTD=d doubt you. Overall, another M.C. jewel, And one That gets bette
EXTD=r with repeated plays. One further note, I love M.C. with a rock 
EXTD=band, but the addition of strings and stand up bass add to the at
EXTD=mospherics...\n\n\nAMAZON.COM CUSTOMER REVIEW\nA REAL good record
EXTD=...., November 12, 1999\nReviewer: Kevin A Brady "kbrady1817" (Ma
EXTD=rs)\nFirst of all, the truth --- the last time I heard anything b
EXTD=y Marshall Crenshaw was "Someday, Someway" back in, what, 1980? I
EXTD= have this enormous collection of LP's, 45's, and CD's and not on
EXTD=e note of it is by Marshall Crenshaw... until now. I heard "Dime 
EXTD=A Dozen Guy" on a non-commercial radio station out of the Philly 
EXTD=area (XPN, Penn State radio) and at first thought that a McCartne
EXTD=y-MacManus album had finally come out. When I heard it was Marsha
EXTD=ll Crenshaw I was, admittedly, floored. \nSecondly, more truth --
EXTD=- I bought this from Amazon along with the latest from Billy Brag
EXTD=g... and on first listen I have to say this beats the Billy Bragg
EXTD= hands down. A big surprise. Lots of nice songs here... other gre
EXTD=at one on first listen --- Right There in Front of Me. Buy this.\n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nWELL - IT IS MARSHALL CRENSHAW, O
EXTD=ctober 21, 1999\nReviewer: A music fan\nSo, you like Mr. Crenshaw
EXTD= and you feel the need to own his recordings. You may as well add
EXTD= this but lower your expectations a bit. The MC that I know and l
EXTD=ove plays in a band. You know, guitars and drums. He's best with 
EXTD=the basics. I'm not a fan of strings outside of an orchestra. The
EXTD= good songs here are very good and you'll eventually sing them bu
EXTD=t he ran out of gas. The first song is not a song but a meaningle
EXTD=ss intro that you'll skip for certain. There are 2 songs that sou
EXTD=nd like they came straight from the backwoods. There are 3 instru
EXTD=mentals and they are all solid (the best being "You Said What?" b
EXTD=ut there is the absence of his voice, which I always miss. Go ahe
EXTD=ad, go get it. But you'll go back and play "Someday Someway" and 
EXTD="Cynical Girl" more often.\n\n\nAMAZON.COM CUSTOMER REVIEW\nAlmos
EXTD=t as good as the last Cd, but so damned short!!, October 13, 1999
EXTD=\nReviewer: Todd Rosenstock (Newtown Square, PA USA)\nWhile not q
EXTD=uite up to the really polished gem of Miracle of Science, this ne
EXTD=w CD eliminates the covers (a MOS strong point) and substitutes i
EXTD=nstrumentals and some inane filler (the intro). Most of the songs
EXTD= are up to his normal standards, especially the gorgeous "T.M.D."
EXTD= and "Dime A Dozen Guy". The collaborations with Richard Julian a
EXTD=nd Bill Lloyd are surprisingly weak (the latter is the worst song
EXTD= on the disc). And guess what--2 out of 3 of the instrumentals ar
EXTD=e excellent ("You Said What?" is a standout). Crenshaw is still t
EXTD=he power-pop king, and this CD does nothing to tarnish that rep. 
EXTD=Minus one star for a running time of just over a half-hour; going
EXTD= retro does not mean ignoring that CD's run 60-75 minutes!\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nA Rock Journey Back to the Future, Oct
EXTD=ober 12, 1999\nReviewer: Alydar "alydar" (New York)\nMarshall's n
EXTD=ew one needs 3 or 4 listens and then it hits you. WOW ! From the 
EXTD=first cut, Opening which rockabillies like a Bill Haley's Comet y
EXTD=ou then change stations and find yourself hearing the Beatles and
EXTD= John Lennon in Dime a Dozen Guy and next get ready for a major j
EXTD=ump to a Gin Blossoms/Jakob Dylan folkie rock twang then sweep in
EXTD=to a Buddy Holly romp in Glad Goodbye into a Santo & Johnny style
EXTD=d - West of Bald Knob (instrumental)...and that's all I have been
EXTD= to - I keep listening to it over and over and over .... I Can'T 
EXTD=Wait to discover the last 6 tracks and I hope there's a #448 out 
EXTD=there Mr. Crenshaw. You never cease to amaze me! Another great ta
EXTD=lent in the shadows...\n\n\nAMAZON.COM CUSTOMER REVIEW\nNot only 
EXTD=hook-laden, but long on atmosphere!, September 29, 1999\nReviewer
EXTD=: A music fan\nMr. Crenshaw takes a bit of a turn on this CD, wit
EXTD=h mucho atmospheric production created by use of strings, stand-u
EXTD=p bass, bongos, etc., all used to back-up his still-solid and var
EXTD=ied use of, yes, the guitar (electric and otherwise)...Definitely
EXTD= mature but still in love with rock n roll, the album gets happie
EXTD=r as it progresses, and a few moody instrumenstals placed through
EXTD=out make for nice change of paces...I don't know if this'll win a
EXTD=ny new converts (take a chance!), but any Crenshaw fans who stray
EXTD=ed around the time Warners stopped considering him "commercially 
EXTD=viable" should perhaps consider this the portal with which to rea
EXTD=quaint themselves with his catchy and plaintive world...
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