THIS IS THE UK ORIGINAL PRESSING on 4AD Records. SINGLE COVER + INNER SLEEVE. The cover is in VG(+) condition: discolouration/wear/ on corners/spines, surface ringwear/edgewear, some surface small marks/hairlines, bent/bumped on corners, left spine is readable; INNER SLEEVE in VG(+) condition, some creases especially on corners; please for details ask for photos. Vinyl is in VG+/EX condition (some light clicks, barely played) and plays wonderfully and without lessening in sound quality

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MOJAVE 3

Between the recording and release of Slowdive's ambient Pygmalion, Neil Halstead began writing more song-based tunes to occupy down time. Weeks after being dropped by Creation, Halstead and the remaining members of Slowdive (Rachel Goswell and Ian McCutcheon) recorded six demos within three days, much of it live without overdubs. Their manager brought the tape to 4AD head Ivo Watts-Russell, who immediately gave the trio money to record more material. Feeling that the direction was too removed to retain the Slowdive moniker, they christened themselves Mojave, only to add "3" later for legal purposes. Signed to 4AD, the six demos and three later-recorded songs made up 1996's Ask Me Tomorrow. Subtle, sparse, and somber, the record drew likenesses to Mazzy Star and Cowboy Junkies, along with some debatable country references. Not necessarily country, it sounded like unplugged Slowdive with a slight twang.

"ASK FOR TOMORROW"

tracklist

Side A: LOVE SONGS ON THE RADIO - SARAH - TOMORROW'S TAKEN - CANDLE SONG 3

Side B: YOU'RE BEAUTIFUL - WHERE IS THE LOVE - AFTER ALL - PICTURES - MERCY

1995     LP    4AD RECORDS    CAD 5013
   MADE IN ENGLAND    ORIGINAL PRESSING SINGLE COVER + INNER SLEEVE
Barcode and Other Identifiers

Barcode: 5 014436 501319

Label Code: none

LABEL: 4AD - LIGHT GREY LABEL w/ARTWORK - MULTICOLOR TEXT

 Catalog on cover: CAD 5013

Catalog on labels: (Side A only) CAD 13

Matrix / Runout (Side A, Etched [Penthouse stamped]): MPO  CAD 5014̷ 3 A1 Penthouse- SRZ.

Matrix / Runout (Side B, Etched): MPO  CAD 5014̷ 3 B1 Penthouse- SRZ.

On labels: (Side A) all compositions.....     produced by.......

published by EMI music    manufactured in England

   (Side B)  ℗ & © 4AD 1995

 On Inner Sleeve: Photos + Credits + Lyrics

On Back Cover: tracklist

grading

RECORD VG+/EX but (please, read above description)

 SLEEVE VG(+) but (please, see pictures and read above description)

After the spare, delicate power of Slowdive's final album, Pygmalion, with influences like the Durutti Column and Brian Eno readily apparent, it would have made perfect sense for Mojave 3 to continue in that vein. Neil Halstead and Rachel Goswell had a much different idea in mind, though, and Ask Me Tomorrow, though even further away from Slowdive's shoegaze beginnings, is just as intoxicatingly intriguing. Arguably it remains the group's high point, flashes of inspiration here and there; as the band grew more straightforwardly authentic and less swathed in an aural cocoon, much of their uniqueness went with them. Here, though, both Goswell and Halstead -- along with drummer Ian McCutcheon (more often than not using brushes), pianist Christopher Andrews, and some guests -- tapped into a drowsy beauty that ran parallel to the burgeoning alt-country movement without completely sounding like it yet. Slowdive's cover of "Some Velvet Morning" is a good reference point -- everything is swathed in echo still, but the emphasis on slide guitar twang and a gently down-home feeling, plus some occasional soft cello, makes the album a hushed masterpiece. Andrews' piano often takes the lead, further emphasizing Mojave 3's own approach, while the Goswell/Halstead vocal combination suggests a cousin to the killer Chris Eckman/Carla Torgeson blend in the Walkabouts. Ask Me Tomorrow starts and ends with its best songs; "Love Songs on the Radio," also the band's debut single, sets the tone perfectly, Goswell's sweet but strong voice and Halstead's guitar in perfect balance. "Mercy," meanwhile, concludes things on a dramatic, powerful note; without completely exploding, it's the most fiery song hands down, with Andrews' steady, doom-laden piano and the ever more strung-out guitar the bed for an at once soothing and warning vocal duet, Goswell and Halstead closing the album with a final a cappella singing sigh...(AllMusic)