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Loveless (album)

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Loveless is the second studio album by the alternative rock band My Bloody Valentine. Released on 4 November 1991, the album took two years to record, utilising eleven engineers and nineteen recording studios. Lead vocalist and guitarist Kevin Shields dominated the recording process; he sought to achieve a particular sound for the record, making use of various techniques such as guitars strummed with a tremolo bar, sampled drum loops, and obscured vocals. The recording of Loveless is rumored to have cost £250,000, a figure that came close to bankrupting the band's record label Creation Records.

My Bloody Valentine's relationship with Creation Records deteriorated during the album's recording, and the band was removed from the label after the album failed to perform commercially. Nonetheless, Loveless was well received by critics. The album is widely regarded as a landmark of the alternative rock genre, and is frequently cited by critics as one of the best albums of the 1990s. A number of My Bloody Valentine's contemporaries, including Billy Corgan of The Smashing Pumpkins and Trent Reznor of Nine Inch Nails, have cited the album as an influence on their music.

Album

Recording

Loveless was recorded over a two-year period between 1989 and 1991. The process was dominated by Shields; his final input during the recording was such that he said, "I'm actually the only musician on the record except for the Colm song ['Touched']." Bassist Debbie Googe observed, "At the beginning I used to go down [to the studio] most days but after a while I began to feel pretty superfluous so I went down less."[1] A large number of engineers were hired and fired during the process, although the band finally gave credit on the album sleeve to anyone who was present during the recordings, "even if all they did was make tea."[2] Shields has since stated that "these engineers—with the exception of Alan Moulder and later Anjali Dutt—were all just the people who came with the studio...everything we wanted to do was wrong, according to them."[3] "It wasn't collaborative at all", according to Alan Moulder. "Kevin had a clear view of what he wanted, but he never explained it."[4]

My Bloody Valentine were initally scheduled to record at Blackwing Recording Studios in Southwark for the month of February 1989. When Shields realised Creation expected the band to record the full album "in five days", he panicked. He later recalled, "when it became clear that wasn't going to happen, they [Creation] freaked."[5] After a number of unproductive weeks, the band relocated in September to the basement studio "The Elephant and Wapping", where they spent eight fruitless weeks. In-house engineer Nick Robbins said Shields made it clear from the outset that he (Robbins) "was just there to press the buttons." Robbins was soon replaced by Harold Burgon, and according to Shields, Burgon's main contribution was to show the group how to use the in-studio computer.[2] Burgon and Shields spent three weeks at the Woodcray studio in Berkshire working on the EP, Glider, which Shields and Creation owner Alan McGee agreed would be released in advance of the album. Alan Moulder was hired to mix the Glider song "Soon" at Trident 2 studio in Victoria (the song would reappear as the closing track on Loveless). Shields said of Moulder, "As soon as we worked with him we realized we'd love to some more!"[6] When the group returned to work on the album, Moulder was the only engineer Shields trusted to perform tasks such as micing the amplifiers; all the other credited engineers were told "We're so on top of this you don't even have to come to work."[7]

During the spring of 1990, Anjali Dutt was hired to replace Moulder, who had left to work with the bands Shakespears Sister and Ride. Dutt assisted in the recording of vocal and several guitar tracks.[8] During this period, the band recorded in various studios, often spending just a single day at a studio before deciding that it was unsuitable. In May 1990, My Bloody Valentine settled on Protocol in Holloway as their primarily location, and work began in earnest on the album, as well as a second EP, Tremolo.[9] The band stopped recording during the summer of 1990 in order to tour in support of the release of Glider.[10] When Moulder returned to the project in August, he was surprised by how little work had been completed. By that point Creation Records was concerned at how much the album was costing.[11] Moulder left again in March 1991 to work for The Jesus and Mary Chain.[12]

The vocal tracks were taped in Britannia Row and Protocol studios between May and June 1991. This was the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Gary Fixsen: "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Anjali Dutt remembers: "Kevin would sing a track, and then Belinda would get the tape and write down words she thought he might have sung".[13]

In July 1991, Creation agreed to relocate the production to Eastcoate studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay their bill for their time at Britannia Row, and the studio refused to return the band's equipment. According to Dutt: "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out."[14] Shields' unexpected and random behaviour, the constant delays, and studio changes were having a material effect both on Creation's finances and the health of their staff. Dutt admits being desperate 'to leave', while second in command Dick Green had a nervous breakdown around this time. Green later recalled "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'."[14] During this time, both Shields and Butcher became affected with tinnitus, and had to delay recording for a further number of weeks while they recovered. Concerned friends and band members suggested this was as a result of the unusually loud volumes the group played at their shows: "Ill-informed hysteria" according to Shields.[14] Although Alan McGee was still upbeat and positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post "shaking with fear", became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight: "He would have not gone grey if it was not for that album."[14]

With the vocal tracks completed, a final mix was undertaken with engineer Dick Meany at the Church in Crouch End during the autumn of 1991;[15] it was the nineteenth studio in which Loveless had been worked on.[14] The album was edited on an aged machine that had previously been used to cut together dialog for movies in the 1970s. Its computer threw the entire album out of phase. Shields was able to put it back together from memory, yet when it came to mastering the album, to Creation's dismay, he needed 13 days; rather than the usual one.[16]

As the previously prolific band were unusually quiet, the UK music press began to speculate. Melody Maker calculated that the total recording cost had come close to £250,000; however, McGee, Green, and Shields dispute this. According to Shields: "The amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent." In Green's opinion the Melody Maker's estimate erred on the low side, by £20,000: "Once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own."[16] Shields later said that most of the money spent was the band's own money, and that "Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony."[17]

Music

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"Only Shallow"
"Only Shallow" is one of two songs on Loveless that featured live performance by drummer Colm O'Ciosoig.
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Loveless was largely recorded in mono sound.[18] The album was recorded this way because Shields felt it important that the album's sound consisted of "the guitar smack bang in the middle and no chorus, no modulation effect".[19] Shields wavers his guitar's tremolo bar as he strums, which contributes, in part, to the band's unique sound.[20] Shields said that due to his use of the tremolo bar, "People were thinking it's hundreds of guitars, when it's actually got less guitar tracks than most people's demo tapes have."[21] Shields asserted that unlike other bands of the shoegazing movement of the early 1990s, the band did not use chorus or flanger pedals. He insisted, "No other band played that guitar like me [. . .] We did everything solely with the tremolo arm".[22] Shields aimed to use "very simple minimal effects" which often were the result of involved studio work. In a 1992 Guitar World interview, Shields described how he achieved a sound akin to a wah-wah pedal on "I Only Said" by playing his guitar through an amplifier with a graphic equaliser preamp. After recording the track, he then bounced it to another track through a parametric equaliser while he adjusted the EQ levels manually. The interviewer asked if Shields could have achieved the same effect easier by simply using a wah-wah pedal; the guitarist replied, "In attitude toward sound, yes. But not in approach."[23]

The vocals, handled jointly by Shields and Bilinda Butcher, are kept relatively low in the mix, and are for the most part highly-pitched.[24] According to Shields, because the band had spent so long working on the album's vocals, he "couldn't tolerate really clear vocals, where you just hear one voice", thus "it had to be more like a sound."[25] To aid this effect, Shields and O'Ciosoig even sampled Butcher's voice and reused it as instrumentation.[26] The lyrics are deliberately obscure; Shields joked that he once considered rating various attempts to decipher the words on the band's website according to a percentage of accuracy.[27] Shields asserted he and Butcher "spent way more time on the lyrics than ever on the music". The words were often written in late-night eight to ten hour-long sessions before the pair were due to record the vocals. The pair worked diligently to ensure the lyrics were not lacklustre, even though the lyrics largely remained the same; Shields said, "There's nothing worse than bad lyrics."[28]

While Butcher contributed about a third of the album's lyrics,[29] most of the music was written and performed by Shields. All but two of the drum tracks are comprised of samples performed by drummer Colm O'Ciosoig. O'Ciosoig was suffering from physical and personal problems during the album's recording, so various drum sounds that he was able to perform in his condition were sampled.[30] Shields later remarked, "[i]t's exactly what Colm would have done, it just took longer to do."[31] O'Ciosoig recovered enough to play live drums on two of the albums' songs, "Only Shallow" and "Touched", the latter of which was composed and performed entirely by the drummer.[32] Debbie Googe did not perform during the album's recording, despite receiving a credit on the album sleeve. Butcher's guitarist duties were assumed by Shields as well. Butcher explained that she did not mind because she felt she "was never a great guitarist", and explained that in Googe's case "for Kevin to actually translate to Debbie what he had in his head and play it right would have been an agonizing process."[33]

Reception

Following the album's low budget release, Shields boasted, "We know more about how the record industry works than our record company half the time. We do. I'm not joking."[34] That winter the band toured Europe, with what the music critic David Cavanagh described as a "unique chapter in live music".[34] To recreate the higher tones from Loveless, Shields employed the American flautist, Anna Quimbly. According to a friend of the band, "She had a little skirt on, black tights...she was a little indie girl. But when she blew into the flute, it was like fucking Woodstock".[35] NME editor Danny Kelly attended a show he described as "more like torture than entertainment, I had a half pint of lager; they hit their first note and it was so loud that it sent the glass hurtling".[35] A U.S. spring tour followed, during which Shields and Butcher tested their audiences' ability to sustain noise played at high volumes. The critic Mark Kemp said of the American tour, "After about thirty seconds the adrenaline set in, people are screaming and shaking their fists. After a minute you wonder whats going on. After another minute it's total confusion. The noise starts hurting. The noise continues. After three minutes you begin to take deep breaths. After four minutes, a calm takes over."[35]

Although Shields feared a critical panning,[36] reviews of Loveless praised the album for its groundbreaking nature. NME awarded the album an 8 out of 10 score. Reviewer Dele Fadele saw My Bloody Valentine as the "blueprint" for the shoegaze genre, and wrote: "with 'Loveless' you could've expected the Irish / English partnership to succumb to self-parody or mimic The Scene That's Delighted To Eat Quiche [. . .] But no, 'Loveless' fires a silver-coated bullet into the future, daring all-comers to try and recreate its mixture of moods, feelings, emotion, styles and, yes, innovations." While Fadele expressed some disappointment that the group seemed to disassociate themselves from dance music and reggae basslines, he concluded "'Loveless' ups the ante, and, however decadent one might find the idea of elevating other human beings to deities, My Bloody Valentine, failings and all, deserve more than your respect."[37] Melody Maker writer Simon Reynolds praised the album, and wrote that the album "[reaffirms] how unique, how peerless MBV are." He declared, "Along with Mercury Rev's 'Yerself is Steam', 'Loveless' is the outermost, innermost, uttermost rock record of 1991." Reynolds noted that his only criticism was that "while My Bloody Valentine have amplified and refined what they already were, they've failed to mutate or leap into any kind of beyond."[38] Rolling Stone gave the album four out of five stars. In a review that also covered Creation labelmates Chapterhouse and Velvet Crush, reviewer Ira Robbins wrote, "Despite the record's intense ability to disorient – this is real do-not-adjust-your-set stuff – the effect is strangely uplifting. Loveless oozes a sonic balm that first embraces and then softly pulverizes the frantic stress of life."[39]

While Creation were pleased with the final album, and the initial music press reviews were positive, the label soon realised that although, in the words of plugger James Kyllo, "it was such a beautiful record, and it was wonderful to have it... it just didn't sound like a record that was going to recoup all the money that had been spent on it."[40] Alan McGee liked the record, but admitted: "It was quite clear that we couldn't bear the idea of going through that again, because there was just nothing to say that [Shields] wouldn't do exactly the same again. That's enough. Lets step back".[40] Despite a severe shortage of money, Creation funded a short tour of the north of England late in 1991. At the time the band were making the marketing of Loveless a hard sell—there would be no singles, and the band's name was forbidden to appear on the record sleeve. McGee was by now exhausted and frustrated. He later admitted "I thought: I went to the wall for you. If this record bombs, I've stolen my father's money. And they were so...not understanding of anybody else's position."[34] Loveless peaked at number twenty-four on the British album charts, and failed to chart in the United States, where it was distributed by Sire Records.[41] In 2003 Rolling Stone estimated the sales figures for Loveless as 225,000 copies sold.[42]

Loveless has ranked highly on a number of critics' lists. The album ranked number fourteen in the 1991 Village Voice Pazz & Jop critics' poll.[43] In 1999, Pitchfork Media named Loveless the best album of the 1990s[44] however, in their 2003 revision of the list, it moved to number two, swapping places with Radiohead's OK Computer.[45] Template:RS500[42] In 2004 The Observer listed it at 20 in its 100 Greatest British Albums, declaring it "the last great extreme rock album".[46] In Spin's entry for Loveless on its list of "100 Greatest Albums 1985-2005", Chuck Klosterman wrote, "Whenever anyone uses the phrase swirling guitars, this record is why. A testament to studio production and single-minded perfectionism, Loveless has a layered, inverted thickness that makes harsh sounds soft and fragile moments vast."[4]

Legacy

Despite being poised for a "popular breakthrough" following Loveless' critical favour,[47] My Bloody Valentine has recorded only sporadically since the album's release, including the contribution of a cover of a James Bond theme song to a charity compilation, and a cover of the Wire song "Map Ref. 41 Degrees N 93 Degrees W" for the tribute album Whore: Tribute to Wire. Unable to finalise a third album, Shields isolated himself and, in his own words, went "crazy"; drawing comparisons in the music press to the behavior of musicians such as Brian Wilson of The Beach Boys and Syd Barrett of Pink Floyd.[48] The other band members went their own ways during the period of inactivity following Loveless; Butcher contributed vocals to Collapsed Lung's 1996 single Board Game,[49] Googe had been sighted working as a cab driver in London[50] and formed the supergroup Snowpony in 1996,[51] O'Ciosoig joined Hope Sandoval & the Warm Inventions,[52] while Shields collaborated with Yo La Tengo, Primal Scream, and Dinosaur Jr.[53]

Reportedly, two separate albums of new music were recorded by Shields in his home studio, but were abandoned.[47] According to sources, one was possibly influenced by jungle music.[50] Shields later confirmed that at least one full album of new material was abandoned: "We did an album's worth of half-finished stuff, and it did just get dumped, but it was worth dumping. It was dead. It hadn't got that spirit, that life in it."[54] He later explained that: "I just stopped making records myself, and I suppose that must just seem weird to people. 'Why'd you do that?' The answer is, it wasn't as good [as Loveless]. And I always promised myself I'd never do that, put out a worse record."[55] However, Shields later said to Magnet magazine that "We are 100 per cent going to make another My Bloody Valentine record unless we die or something," and attributed the band's sparse output to a lack of inspiration.[56] In 2007 Shields announced that the band had reunited and that a new album they had started recording in 1996 was "3/4th finished."[57]

Loveless's influence has grown with time, and the album has impacted a wide variety of other artists. Music critic Jim DeRogatis wrote in Turn On Your Mind: Four Decades of Great Psychedelic Rock that "the forward-looking sounds of this unique disc have positioned the band as one of the most influential and inspiring bands since the Velvet Underground."[58] Brian Eno has praised the album and said, regarding the song "Soon," that "[i]t set a new standard for pop. It's the vaguest music ever to have been a hit."[59] Billy Corgan of The Smashing Pumpkins told Spin, "It's rare in guitar-based music that somebody does something new [. . .] At the time, everybody was like, 'How the fuck are they doing this?' And, of course, it's way simpler than anybody would imagine."[4] Corgan later recruited Alan Moulder to co-produce the 1995 Pumpkins album Mellon Collie and the Infinite Sadness. Trey Anastasio of jam band Phish opined that "'Loveless' is the best album recorded in the '90s," and wanted his band to cover the album in its entirety for a Halloween show.[60] Robert Pollard of indie rock band Guided by Voices acknowledged the album as a source of inspiration, noting, "Sometimes when I want to write lyrics, I'll listen to Loveless. Because of the way the vocals are buried, you can almost listen to the songs as if they're instrumental pieces."[24] Trent Reznor of Nine Inch Nails praised the album's musical diversity and production,[61] and later worked with Moulder on the third Nine Inch Nails studio album, The Fragile.[62] Loveless has also been said to have made a considerable influence on the career of British band Radiohead,[60] particularly influencing the band's textured guitar sound.[63] Instrumental band Japancakes covered the album in its entirety on Loveless (2007), replacing vocals with steel guitar and distortion with a clean sound.[64]

Track listing

All songs written by Kevin Shields unless otherwise noted.

  1. "Only Shallow" (Bilinda Butcher, Kevin Shields) – 4:17
  2. "Loomer" (Butcher, Shields) – 2:38
  3. "Touched" (Colm O'Ciosoig) – 0:56
  4. "To Here Knows When" (Butcher, Shields) – 5:31
  5. "When You Sleep" – 4:11
  6. "I Only Said" – 5:34
  7. "Come in Alone" – 3:58
  8. "Sometimes" – 5:19
  9. "Blown a Wish" (Butcher, Shields) – 3:36
  10. "What You Want" – 5:33
  11. "Soon" – 6:58

Sources

  • Cavanagh, David (2000). My Magpie Eyes Are Hungry for the Prize. (London) Virgin Books. ISBN 0-7535-0645-9.
  • DeRogatis, Jim (2003). Turn On Your Mind: Four Decades of Great Psychedelic Rock. (Milwaukee) Hal Leonard Corporation. ISBN 0-634-05548-8.
  • McGonigal, Mike (2007). Loveless. (New York) The Continuum International Publishing Group Inc. ISBN 0-8264-1548-2.

References

  1. ^ McGonigal, p. 50-51
  2. ^ a b McGonigal, p. 43
  3. ^ McGonigal, p. 43-44
  4. ^ a b c Klosterman, Chuck. "My Bloody Valentine - Loveless". Spin. July 2005.
  5. ^ McGonigal, p. 41
  6. ^ McGonigal, p. 45
  7. ^ McGonigal, p. 46
  8. ^ McGonigal, p. 48
  9. ^ McGonigal, p. 59
  10. ^ McGonigal, p. 47
  11. ^ McGonigal, p. 60
  12. ^ McGonigal, p. 61
  13. ^ Cavanagh, p. 359
  14. ^ a b c d e Cavanagh, p. 360
  15. ^ McGonigal, p. 62
  16. ^ a b Cavanagh, p. 361
  17. ^ McGonigal, p. 67
  18. ^ McGonigal, p. 39
  19. ^ McGonigal, p. 50
  20. ^ DeRogatis, p. 488
  21. ^ McGonigal, p. 36
  22. ^ McGonigal, p. 32
  23. ^ di Perna, Alan. "Bloody Guy". Guitar World. March 1992.
  24. ^ a b McGonigal, p. 75
  25. ^ McGonigal, p. 76
  26. ^ Kemp, Mark. "The Beauty In The Beast", 1992. Options Magazine "[Butcher's is] a soft, airy voice which acts as the wind in the Valentines' turbulent tunnel. Shields and O'Ciosoig even sample her voice so they can regurgitate it digitally as the sound of a flute or other woodwind instruments. 'It gives it the texture of a human voice,' Shields says, 'but doesn't sound particularly human.'"
  27. ^ McGonigal, p. 77
  28. ^ McGonigal, p. 78-9
  29. ^ McGonigal, p. 78
  30. ^ McGonigal, p. 72
  31. ^ McGonigal, p. 70
  32. ^ McGonigal, p. 69, 70-71
  33. ^ McGonigal, p. 73
  34. ^ a b c Cavanagh, p. 369
  35. ^ a b c Cavanagh, p. 370
  36. ^ The Stud Brothers. "My Bloody Valentine: The Class of '91". Melody Maker, November 1991. "'I think we're gonna get a panning,' he says. 'In a weird way, even though we haven't done an album for three years, we've been overexposed. I mean, a couple of months ago you couldn't read a review without seeing our name mentioned. It was ridiculous. It was like, 'Oh my God, there's gonna be a definite backlash. People are gonna hate us just because our name's mentioned so much'."
  37. ^ Fadele, Dele. Loveless review. NME, 9 November 1991.
  38. ^ Reynolds, Simon. "Valentine Daze" [Loveless review]. Melody Maker. 2 November 1991.
  39. ^ Robbins, Ira. Loveless review. Rolling Stone, 5 March 1992. Retrieved on 20 November 2007.
  40. ^ a b Cavanagh, p. 368
  41. ^ McGonigal, p. 97
  42. ^ a b "219) Loveless". Rolling Stone, 01 November 2003. Retrieved on 05 August 2007.
  43. ^ Christgau, Robert. "The 1991 Pazz & Jop Critics Poll". Village Voice, 3 March 1992. Retrieved on 10 November 2007.
  44. ^ DiCrescenzo, Brent. "Top 100 Albums of the 1990s: Loveless". Pitchfork Media. Retrieved on 07 July, 2007.
  45. ^ Richardson, Mark. "Top 100 Albums of the 1990s: Loveless". Pitchfork Media, 17 November, 2003. Retrieved on 05 August, 2007.
  46. ^ O'Hagan, Sean. "OMM: The 100 Greatest British Albums: 20 Loveless My Bloody Valentine". The Observer, 20 June 2004. Retrieved on 27 November 2007.
  47. ^ a b Erlewine, Stephen Thomas. "My Bloody Valentine Biography". All Music Guide. Retrieved on 23 August 2007.
  48. ^ Lester, Paul. "I lost it". The Guardian, 12 March 2004. Retrieved on 06 August, 2007.
  49. ^ Collapsed Lung, Bilinda Butcher vocals. Board Game (music). Deceptive Records, London Records. BLUFF 034 CD. {{cite AV media}}: |format= requires |url= (help); Unknown parameter |date2= ignored (help)
  50. ^ a b DeRogatis, p. 491
  51. ^ "My Bloody Valentine Exclusive Interview". Creation-Records.com. Retrieved on 24 August, 2007.
  52. ^ Rondeau, Bernardo. "My Bloody Valentine - Loveless - PopMatters Music Review". PopMatters, 29 January 2003. Retrieved on 24 August, 2007.
  53. ^ Phares, Heather. "Loveless: Review". Allmusic.com. Retrieved on 24 August, 2007.
  54. ^ Ragget, Ned. "My Bloody Valentine -- interview with KUCI". KUCI. Retrieved on 23 August, 2007.
  55. ^ Dansby, Andrew. "Kevin Shields Found on "Lost"". Rolling Stone, 24 September 2003. Retrieved on 05 August 2007.
  56. ^ "My Bloody Valentine set to record again". NME, 15 January 2007. Retrieved on 05 August 2007.
  57. ^ Cohen, Jonathon. "Shields Confirms My Bloody Valentine Reunion". Billboard, 07 November 2007. Retrieved on 08 November 2007.
  58. ^ DeRogatis, p. 492
  59. ^ "Symphonic Chaos" Melody Maker, December 1990. "And it won them acclaim from Brian Eno, who, in a lecture at New York's Museum Of Modern Art, described it as 'the vaguest piece of music ever to get into the charts'. If Steve Reich or Glenn Branca had been responsible for it, he continued, they would have been given an award by the classical music establishment."
  60. ^ a b DeRogatis, Jim. "A love letter to guitar-based rock music". JimDero.com, 02 December 2001. Retrieved on 24 August, 2007.
  61. ^ Murphy, Peter. "Lost In Transmutation". Hot Press, May 2004.
  62. ^ Jorgl, Stephanie. "Alan Moulder: Self-taught Audio Kingpin". Audiohead.net. Retrieved on 24 August, 2007.
  63. ^ Erlewine, Stephen Thomas. "Radiohead Biography". All Music Guide. Retrieved on 03 September 2007.
  64. ^ Dorr, Nate. "Japancakes: Giving Machines". PopMatters, 10 October 2007. Retrieved on 10 November 2007.


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