Brace yourselves for the longest tracklist yet. Double album time!

Fritz and the Schnitzels [2208]
(I Just) Died In Your Arms - Cutting Crew
Owner of a Lonely Heart - Yes
What Difference Does It Make? - the Smiths
Sheffield Sex City - Pulp
Pictures of Lily - the Who
Precious - the Jam
Hey Bulldog - the Beatles
You Better You Bet - the Who
This Is What She's Like - Dexys Midnight Runners
There Is A Light That Never Goes Out - the Smiths
Loose Fit - Happy Mondays
Got My Mind Set On You - George Harrison
Help the Aged - Pulp
Getting Better - the Beatles
Eminence Front - the Who
Talk To Me - the Outfield
D'You Know What I Mean? - Oasis
Like a Friend - Pulp
Got To Get You Into My Life - the Beatles
Blue Jean - David Bowie
Age of Consent - New Order
A Quick One While He's Away - the Who

This is it. The album to slaughter the rest of 'em. The Schnitzels' equivalent of the White Album. While the Beatles had meticulously (for the most part) put together a lengthy double record full of heavy hitting musical genius that cemented them as the storied rock legends Sgt. Pepper made them out to be (and then also John trolling us all for a few minutes during the "song" that we do not speak of) and topping it all off by trolling us even harder by leaving us with a stark white, minimalist album cover and an eponymous title, the Schnitzels...well, they kinda did the same thing, but with one of their most psychedelic, non-minimalist covers yet. This took five long hard listens of a 10-minute mix of "Maniac" from Flashdance (wasn't that keen on the movie but you know how epic that song is) and then an 8-minute mix of Pet Shop Boys' "West End Girls" to get through. Started it on a stream last night, thank you all for coming, everyone who did come, it was much appreciated, but it's too bad you all couldn't see the fun stuff happening. I was too busy trying to get Terrence to look right. After that the rest of the lads came easy. Had to look at two Who posters and some foreign and/or bootleg Beatles album and single covers to get the look right. Speaking of, let's talk about the cover. The Beatles' eponymous White Album was called as such because it was just plain white with "the Beatles" written on it. The Schnitzels had originally intended to nickname this the "Red, White, and Blue Album", to go with their usual Mod and Union Jack themed style. Problem was, the white (or, rather, cream-colored) glowgunk used to paint their faces over the dark red backdrop had been left to cure for too long, and it was left a dark yellowy amber. Too late to be fixed, they decided to work with it. Silkscreened the blue print over it and what's done was done. To make it seem like it was all purposefully done, the boys decided to make the record have a Mondrian print on it, which thankfully worked with the new accidental color palette. Thus the album tended to be called the "Red, Yellow, and Blue Album" instead of the orginal "Red, White, and Blue Album". David prefers to call it "The Mistake." The album includes, in the liners, some outtakes of the photo used to make the cover, including one in which Cal accidentally blinked, one where Niles is looking in the wrong direction, one that has Mark sneezing, one obviously rejected shot of David flipping the camera off almost hidden behind Cal's head but not particularly well enough, etc, etc.
The album really showed how...mature the boys got. Not in terms of content, they're pretty family friendly...except for that one Pulp song up top. That one's honestly, if I were to rate it, a PG-13: not actually as inappropriate as it looks. Definitely not enough to get a Parental Advisory rating for the album...mostly because the one time an expletive was muttered in the original was replaced by Niles protesting continuing to read off his part of the song, to Terrence's admittedly quite calm dismay. I've described before the way that the cover would go for that one; Jarvis Cocker originally wrote it about sleazy nights in his hometown but Terrence is from Manchester. Niles is the one from Sheffield. Terrence turned the song into a sort of friendly slam on his best mate, a sort of "I've 'ad so many birds from there I know the place betta' than yew, Noils!" Suffice it to say Niles doesn't particularly care for that one. You could call it the Revolution 9 of the album...but the song is actually quite good, unfortunately, so there goes that. Though I can't go into too much detail on the extensive track list, I will mention the highlights. Cal gets some nice time in the spotlight with a cover of "D'You Know What I Mean?" In a way, it's his "While My Guitar Gently Weeps" moment. David does some Jam covers, as per usual (as his voice is well suited to mimic Paul Weller's.) Funnily enough, while there are quite a few Beatles tracks on this album, surprisingly none of them come off the White Album. The boys realized that afterwards and David was so ashamed he hit Terrence upside the head like he usually does.
However, I would be a bad narrator and storyteller if I didn't point out the fact that this album features not one, but two mini-rock operas: the hidden classic "This is What She's Like" by Dexys Midnight Runners and the original rock opera, the Who's "A Quick One While He's Away", actually ends the album. It's a worthy finale. Like I said before, this is the Schnitzels' most ambitious work yet. Mostly because I'm pretty sure it's album cover alone was mine.

Oh, and, it's not visible, because only the first disc is pooching out, but the second part of the album just has that same Mondrian print inverted on the disc. Colors switched, so there's black where there was white, and the red was switched with the blue. The yellow stayed stationary, though.

Seriously, that cover was hard work.

Thank you for the feature, bon viesta ! My man.

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