The Fat Angel Sings

Amanda Shires has announced “Loving You”, her new album with the late Bobbie Nelson, with a new cover of the George Gershwin standard “Summertime,” featuring Nelson’s brother, Willie. “Loving You” is due out June 23rd (via Silver Knife/ATO).

The new video was co-directed by Shires and Deren Ney and shot by photographer Joshua Black Wilkins and album producer Lawrence Rothman at Arlyn Studios in Austin, Texas. The studio is co-owned and operated by Bobbie Nelson’s son Freddy Fletcher, who also plays drums on the album.

“I think [Bobbie Nelson] related to the song because she was a mother and the family unit was important to her, whether or not she had the idealized version,” Shires said in a statement. “I first saw Bobbie playing when I was 16 or so at some festival somewhere in Texas where I grew up. I saw her perform many times over the years and always admired the way she played so effortlessly and with so much strength and confidence. She radiated music. Much of my path seemed possible because I saw a woman working and making a career of music at a young age, and that woman was Bobbie Nelson.”

Bobbie Nelson first recorded the song with Willie for their Grammy-winning album “Summertime: Willie Nelson Sings Gershwin”. The siblings released a memoir called “Me and Sister Bobbie: True Tales of the Family Band” in 2020 via Random House. Bobbie Nelson died last year at 91. 

Amanda Shires released her last LP, “Take It Like a Man”, in 2022. In February, she performed the track “Take It Like a Man” track “Hawk for the Dove” alongside her husband and frequent collaborator, Jason Isbell, on The Tonight Show Starring Jimmy Fallon.

Rufus Wainwright’s forthcoming album, “Folkocracy”, is an album of folk classics that features a number of notable collaborations, including John Legend, Brandi Carlile, David Byrne, Sheryl Crow, Nicole Scherzinger, Chaka Khan, Andrew Bird, Anohni and many more. Praised by the New York Times for his genuine originality Rufus Wainwright has established himself as one of the great male vocalists, songwriters, and composers of his generation. The New York born, Montreal raised singer songwriter has released 10 studio albums to date, 3 DVD’s, and 5 live albums, including the Grammy nominated “Rufus Does Judy At Carnegie Hall”.

“Down In The Willow Garden” feat. @BrandiCarlile is out now! As well as the music video that features the making of the song together in the studio.

The singer-songwriter Rufus Wainwright has shared another single, ‘Heading For Home (feat. John Legend)’. ‘Heading For Home’ heralds Wainwright’s eagerly awaited new album, “Folkocracy”, a star-studded collection of folk music reinventions arriving Friday, June 2nd via BMG.

Speaking on the collaboration with Legend, Rufus Wainwright said: “John Legend has arguably one of the most beautiful voices in the world, and listening to him singing is pure joy. I am now one of the few who can say that it can get even better, and that is when you sing with him. Thank you for coming on this folk journey with me and singing Peggy Seeger’s ‘Heading for Home’ with me. It was an effortless flight, an elegant glide, a fulfilling soar, not just a mere walk home.”

“I’ve been a fan of Rufus for quite some time, and it was a true joy to sing with him on this beautiful song,” says John Legend.

“Folkocracy”, which follows Wainwright’s most recent studio album, 2020’s Grammy and Juno Award-nominated “Unfollow The Rules“, sees the critically acclaimed artist celebrating his upcoming 50th birthday by revisiting his roots, of childhood summers spent at folk festivals and watching his famous family on stage.

Produced by longtime collaborator Mitchell Froom (Paul McCartney, Crowded House), on “Folkocracy”, Wainwright is joined by a spectacular line up of friends, family members, and other special guest artists 

I am excited to announce that this will be a part of my upcoming album ‘Folkocracy’ which will be released June 2nd!

Back in July 2021, Bob Dylan livestreamed a concert film called “Shadow Kingdom”, which was available for a limited time. Filmed on a soundstage over a week, the film blended videos directed by Alma Har’el with black-and-white footage of Dylan performing with a cast of backing musicians that included Buck Meek and Shahzad Ismaily.

Drawn from his 2021 film of the same name, the album features reinterpreted classics like “It’s All Over Now, Baby Blue” and “Forever Young” “Shadow Kingdom” presents Dylan performing revelatory 21st century versions of songs from his storied back catalogue – including fan favourites like “Forever Young” and “It’s All Over Now, Baby Blue,” and deep catalogue gems like “Queen Jane Approximately” and “Wicked Messenger.”

Originally reinterpreted for an exclusive streaming film event, which aired in July 2021, “Shadow Kingdom” will now be available on vinyl, CD, and streaming platforms for the first time.  The album’s setlist includes 13 original songs handpicked by Dylan for his “Shadow Kingdom” performance plus the closing instrumental, “Sierra’s Theme.”

“Shadow Kingdom“’ is an album of reinterpreted tracks from Bob Dylan’s vast back catalogue, originally selected for a 2021 live-streamed concert film following the pandemic-induced shutdown of Dylan’s famous Never Ending Tour. Thirteen classics, including ‘Forever Young’, ‘Queen Jane Approximately’ and ‘It’s All Over Now, Baby Blue’, are performed with Dylan’s impossibly husky, eighty-something baritone. Absolutely spellbinding.

Bob Dylan will release a live album drawn from the same concert as his 2021 film, “Shadow Kingdom”. The film will also be available to rent and download from June 6th. Below, see the tracklist and listen to the “Shadow Kingdom” version of his 1971 single “Watching the River Flow.”

In January, Dylan released the latest in his “Bootleg Series, Fragments – Time Out of Mind Sessions (1996-1997)“. A new Dylan biopic starring Timothée Chalamet is in the works.

The film will be available for download and rental, and there will be a live album that includes the arrangements of the songs that were featured on the setlist, pulled from throughout Dylan’s career.

Roger Waters will issue a new mini-album called “The Lockdown Sessions”, in June.

These are re-recordings of old songs, three are from Pink Floyd’s “The Wall“, two are from the last Floyd album with Roger Waters, 1983’s “The Final Cut” and one track (‘The Bravery of Being Out of Range’) is from Waters’ 1992 solo album “Amused to Death”.

‘Comfortably Numb 2022’ is the last song on “The Lockdown Sessions” and is an exception to the ‘lockdown’ rule, since this was recorded during Waters’ This Is Not A Drill North American tour last year.

The Lockdown Sessions are 5 seminal tracks from Waters time with Pink Floyd his solo career: “Mother” and “Vera” from Pink Floyd The Wall; “Two Suns In The Sunset” and “The Gunner’s Dream” from Waters final Pink Floyd album, The Final Cut; and “The Bravery of Being Out Of Range” from his highly acclaimed solo album, “Amused To Death”. Additionally, Waters new version of the classic Pink Floyd song “Comfortably Numb” features as the final track on “The Lockdown Sessions”.

“Our Us and Them Tour lasted three years…At every gig we did an encore after the main show closed with “Comfortably Numb”…the encore was always “Mother” I can’t remember why I decided to start doing other songs?…Anyway, at some point after the end of the tour…I started thinking, “It could make an interesting album, all those encores”…“The Encores”. ”Yeah, has a nice ring to it!” Then…I’m in England doing the Ginger Baker tribute gig one Tuesday night at the Hammersmith Odeon with Eric Clapton and…the following Saturday marching from The Australian Embassy to Parliament Square to make a speech in support of Julian Assange, when bugger me, Covid…Schlummmm! For me it was Friday March 13th 2020. Lockdown! So much for the “Encores” project. Unless… 

We’ve tacked C. Numb on the end of the collection, as an appropriate exclamation point in closing this circle of love.”

The Lockdown Sessions were produced by Roger Waters and Gus Seyffert. Appearing on the recordings are Roger Waters – Vocals, Guitar and Piano; Gus Seyffert – Bass, Cellos and Vocals; Joey Waronker – Drums and Percussion; Dave Kilminster – Guitar and Rhythm Guitar; Jonathan Wilson – Guitar and Vocals; Jon Carin – Keyboards and Vocals, Lucius (Jess Wolfe and Holly Laessig) – Vocals; Bo Koster – Hammond (on all tracks except “Mother”) and Ian Ritchie – Saxophone (“Two Suns In The Sunset”).

Videos have been made for the songs which were produced and directed by Sean Evans. Roger’s This Is Not A Drill is currently on tour in Europe, and we know he has more recordings in the bag waiting to be released, namely his reworking of Pink Floyd’s The Dark Side of the Moon.

“The Lockdown Sessions” are released on CD and vinyl on 7th June, via Colubmia/Sony Music.

Two of Little Feat’s best albums – “Sailin’ Shoes” and “Dixie Chicken” – have been both newly remastered for upcoming Deluxe Editions that will introduce unreleased live and studio recordings that capture peak Feat. Little Feat’s second and third albums, “Sailin’ Shoes” and “Dixie Chicken”, will be reissued as expanded deluxe editions in June.

Both records “Sailin’ Shoes” was first released in 1972 while “Dixie Chicken” followed in ’73) have been remastered and recut to vinyl and the expanded 2CD and 3LP editions offer previously unreleased studio outtakes and demos, and complete unreleased live shows (same content on vinyl and CD).

“Sailin’ Shoes” includes the classic and much covered ‘Willin”, as well as the title track which Robert Palmer recorded for his debut album “Sneaking Sally Through The Alley”. In fact, so smitten was Palmer with Little Feat as musicians, that they became his backing band on a few tracks on his second solo album, 1975’s “Pressure Drop”. 

Released in 1972, “Sailin’ Shoes” was the second studio album from the founding quartet of singer-guitarist Lowell George, drummer Richard Hayward, keyboard player Bill Payne, and bassist Roy Estrada. Ted Templeman produced the record, which was the first to feature artwork by illustrator Neon Park, who created covers for nearly all of Little Feat’s albums.

SAILIN’ SHOES (DELUXE EDITION) opens with a newly remastered version of the original album, which introduced signature tunes like “Easy To Slip,” the title track, and an updated version of “Willin’” a song that also appeared in 1971 on the band’s eponymous debut. Several outtakes from the album’s recording sessions make their debut on the Deluxe Edition, including alternate versions of “Cold, Cold, Cold,” “A Apolitical Blues,” and “Willin’.”

The magic that Little Feat conjured in concert takes centre stage in the new set with a newly discovered and previously unreleased complete show recorded at the Palladium in Los Angeles on August 28th, 1971. This live set marks the only multi-track recording in existence to feature the original line-up of the band. The performance features songs from both Sailin’ Shoes (“Tripe Face Boogie,” “Teenage Nervous Breakdown”) and Little Feat (“Hamburger Midnight,” “Snakes On Everything.”) The set also comes with illustrated liner notes written by acclaimed music journalist, David Fricke.

“Dixie Chicken”, the band’s third studio album, emerged in 1973 and introduced fans to Little Feat’s evolving sound and new line-up. The group’s shift toward New Orleans-style funk was accompanied by the arrival of three new members, guitarist Paul Barrere, percussionist Sam Clayton, and bassist Kenny Gradney (who replaced Estrada).

DIXIE CHICKEN (DELUXE EDITION) contains the newly remastered album, which features classics like “Two Trains,” “Fat Man In The Bathtub,” and the title track. Several unreleased session recordings debut in the new set, including alternate versions of “Roll Um Easy,” “On Your Way Down,” and “Juliette.” The unreleased live music was recorded at Paul’s Mall in Boston on March 1, 1973. They feature songs from Dixie Chicken (“Two Trains,” “Walkin’ All Night”) and the band’s earlier albums (“Willin’,” “Got No Shadow.”) The illustrated liner notes included in the collection were written by author Dennis McNally, who got his start as the Grateful Dead’s publicist.

“Dixie Chicken” features songs such as ‘Two Trains’, ‘Fat Man in the Bathtub’ and of course the brilliant title track.

Little Feat will celebrate these deluxe editions with “The Albums Tour” this fall, which will feature the band playing each album in its entirety across back-to-back nights at select venues (night one will be Sailin’ Shoes and night two will be Dixie Chicken). Preceding “The Album Tour,” the band is currently in the midst of their “Boogie Your Spring Away” tour, making their way across the East Coast in the coming days before making special appearances at the MerleFest in North Carolina April 27 and The Green River Festival on June 25 in Massachusetts. After a short break, Little Feat will hop back on the road for the “Boogie Your Summer Away” tour, kicking off July 12 in Atlanta and wrapping up summer dates at the Hot August Music Festival on August 19 in Maryland.

SAILIN’ SHOES (DELUXE EDITION) 3LP Track Listing

Original Album (2023 Remaster)

Side One

    “Easy To Slip”
    “Cold, Cold Cold”
    “Trouble”
    “Tripe Face Boogie”
    “Willin’”
    “A Apolitical Blues”

Side Two

    “Sailin’ Shoes”
    “Teenage Nervous Breakdown”
    “Got No Shadow”
    “Cat Fever”
    “Texas Rose Café”

Hotcakes, Outtakes, Rarities

Side One

    “Sailin’ Shoes” – Demo *
    “Easy To Fall” (early version of “Easy To Slip”) – Demo For Doobie Bros.
    “Texas Rose Café” – Demo For Doobie Bros.
    “Cold, Cold, Cold” – Alternate Version *
    “Roto/Tone”

Side Two

    “A Apolitical Blues” – Alternate Version *
    “Boogie” (early version of “Tripe Face Boogie”)
    “Trouble” – Alternate Version *
    “Doriville”
    “Willin’” – Alternate Version *
    “Easy To Slip” – Mono Single Version

Thank You! I’ll Eat It Here: Live At The Palladium, Los Angeles, CA (8/28/71)

Side One

    “Tripe Face Boogie” *
    “Hamburger Midnight” *
    “Cat Fever” *
    “Willin’” *
    “Strawberry Flats” *

Side Two

    “Got No Shadow” *
    “Texas Rose Café” *
    “Snakes On Everything” *
    “Hot Rod” *
    “Teenage Nervous Breakdown” *

DIXIE CHICKEN (DELUXE EDITION)

3LP Track Listing

Original Album (2023 Remaster)

Side One

    “Dixie Chicken”
    “Two Trains”
    “Roll Um Easy”
    “On Your Way Down”
    “Kiss It Off”

Side Two

    “Fool Yourself”
    “Walkin’ All Night”
    “Fat Man In The Bathtub”
    “Juliette”
    “Lafayette Railroad”

Hotcakes, Outtakes, Rarities

Side One

    “Two Trains” – Demo
    “Fat Man In The Bathtub” – Demo
    “Walkin’ All Night” – Alternate Version *
    “Roll Um Easy” – Alternate Version *
    “On Your Way Down” – Alternate Version *

Side Two

    “Eldorado Slim”
    “Juliette” – Alternate Version *
    “Hi Roller (Ace In The Hole)”
    “Dixie Chicken” – Alternate Version *

Icepick Eldorado: Live At Paul’s Mall, Boston, MA (4/1/73)

Side One

    “Two Trains” *
    “Got No Shadow” *
    “On Your Way Down” *

Side Two

    “Walkin’ All Night” *
    “Fat Man In The Bathtub” *
    “Willin’” *
    “A Apolitical Blues” *

These 2CD and 3LP deluxe editions of “Sailin’ Shoes” and “Dixie Chicken” will be released on 23rd June 2023, via Rhino Records.

I’m aching to see you again / mistaken, beginning inside of the end,” Meg Duffy sings at the start of “Something Wrong,” the first song on their six-track new release, “Sugar the Bruise”. Everything that forms will un-form. Everything that comes together will disperse. Everything that lives will die. Every moment is over as it passes. Every end contains a beginning. “Sugar the Bruise”, out from Fat Possum Records on June 16th, doesn’t shy away from these truths. It dives into the heart of them.

In August 2021, nearly 2 years before “Sugar the Bruise’s” creation, Duffy taught a month-long songwriting class through School of Sound. They created a container for both new and experienced songwriters, designing prompts to help participants play with new approaches and forms. They re-discovered, with newfound clarity, the generative capacity of embracing the unknown, and how essential collaboration and improvisation are for accessing the indescribable.

After three beloved, meticulously written albums – 2017’s “Wildly Idle (Humble Before the Void)”, 2019’s “Placeholder” and 2021’s “Fun House” – Meg Duffy offered themself up for a 10-day writing trip. Working alongside Luke Temple (Here We Go Magic, Art Feynman) and in the final hours Philip Weinrobe (Adrienne Lenker, Cass McCombs, Lonnie Holly), at Panoramic Studios in Stinson Beach, CA, Duffy surrendered to the present moment, trusting that whatever sounds and words emerged were meant to emerge. With additional production, engineering and arranging from Jeremy Harris, Duffy created something which, in their words, “Turned out nothing like I’d imagined it would.”

The result of this collective experiment, born equally from play and intention, is a radical gift for listeners: proof that our most vital processes, creation and destruction, are exquisitely entangled. The unanswerable and untenable suffering of experience is the fact of perpetual loss. And, yet, there is precious, vivid magic created by this condition. In “Sugar the Bruise”, grief folds in on itself and becomes laughter; language fades away into sonic expanses of the inexpressible; melodies melt into cacophonies; love songs surrender to loss; historic violence is supplanted by the disks of sunlight.

Duffy, of course, is no stranger to the magic of collective music-making. They have collaborated with heavy-hitters as wide-ranging as Angel Olsen, Emile Mosseri, Perfume Genius, SASAMI, Sylvan Esso, and Weyes Blood.

They have inflected each of these collaborations with what The New Yorker has called their “masterly sense of melody” and Pitchfork has described as their “virtuosic talent,” to name but some of the hyperbolic praise they’ve garnered over the course of their career (see other examples in Rolling Stone and The Fader, to name just a few more).

Duffy’s devout fans will recognize their signature intimacy, artistry, and technical expertise in “Sugar the Bruise”. But they will also encounter an artist questioning what it means to be in control. Do we write songs or do songs write us? The same could be asked of poems, of books, of whole lives. All artists realize sooner or later that choice is elusive, will is illusory. We grasp for certainty, we write towards resolution, only to learn again and again that as soon as we think we’ve arrived, these destinations prove themselves to be mirages. This lesson holds for all people, too. And, yet, we laugh along the way, we fall in love, we make meaning, and we play. “Sugar the Bruise” is your companion in the void, your friend at the end, a reminder that, in the immediacy of loss, something beautiful has already begun. 

releases June 16th, 2023

Wye Oak are delighted to have some new music to share with you–“Every Day Like the Last,” the title track from our upcoming singles collection: “Every Day Like the Last” The nine songs on “Every Day Like the Last” came from a period where Wye Oak were in flux after a decade-plus of steadily releasing albums and touring. Sonically, the collection represents Wasner and Stack getting back to basics. Balancing the organic and the artificial, using electronics and programming to add new textures. 

Those of you who have been paying attention may have noticed that we’ve been experimenting with releasing music differently over these past few years. This compilation brings together the singles released since 2019, plus three new unreleased songs. We are deeply proud of the music contained here–we think it’s some of the best work we’ve ever done as a band, and are so happy to see it get the release it deserves .

This song in particular is about the sacrifices we make for love, companionship, and community. Human beings are messy, and yet—we need each other. The quality of our relationships determines the quality of our lives. But for all of us, and especially for those of us whose formative relationships were not so simple—alone can feel like the safest place to be. This song is about learning how to relax into imperfection, release the impulse to control, and accept the reality that life is brief and always ending, so we might as well have some company.

For more than 15 years, Wye Oak have offered comfort to their listeners in the form of warm, expressive music that has showcased their ever-growing maturity as players and people. “Every Day Like the Last” captures them at a moment when they realized the strength of the bonds they’ve forged—and even though they aren’t sure where their individual and collective journeys will take them next, these nine songs act as a signal that figuring things out along the way can result in beauty. 

Recorded and played by us, with the exception of some pedal steel from Alan Good Parker. Mixed by Adrian Olsen at Montrose Recordings. Mastered by Sarah Register. Artwork by Aaron Lowell Denton, lyric video by Spence Kelly, new photos by Graham Tolbert.

Released June 23rd on Merge Records

This 50th Anniversary edition comes on five LPs and expands on the original with 42 additional tracks – curated by Lenny Kaye and supervised by Elektra Records’ founder Jac Holzman. 

There are a lot of classic rock fans — or aficionados of obscure classic rock, if that’s not an oxymoron — that will be looking for this boxed set as the first thing they do when they get in the store. The pressing quantity is high for an item that retails for around $100, so the supply should meet the demand for a while, though you may well have to hit more than one shop. You’ll be glad you did: This probably counts as one of the most essential Record Store Day releases ever, for rock history buffs. If you’re not familiar with the original “Nuggets” release from 50 years ago, it was a collection that evinced nostalgia for something that had transpired only about five or six years before: the intersection of garage-rock and psychedelia.

Still the daddy of all 60s psychedelic pop collections, the original double-disc “Nuggets” was lovingly compiled by music writer and future Patti Smith Group guitarist Lenny Kaye, under the supervision of Elektra Records’ boss Jac Holzman, in 1972. Inspiring the early punk movement, the compilation also laid the groundwork for further 60s psych-pop collections, such as the multi-volume Pebbles series, before expanding to four discs for a CD box set reissue in 1998.

There was a plan to follow that 1973 comp with a two-LP “Vol. II” — it never came out, but it’s included here, at last. And so is a fifth disc (!) of songs that had been considered for either collection but didn’t make the cut. The expanded set is curated now, as it was in ’73, by the great Lenny Kaye, of Patti Smith Group and other fame. He and fellow history buffs Jac Holzman and Bill Inglot have contributed liner notes to a 16-page booklet that accompanies the individually jacketed slide-out LP jackets-within-a-jacket. A “Nuggets” neophyte will know a few of the tracks (“I Had Too Much to Dream (Last Night),” “Pushin’ Too Hard”), but what a voyage of discovery this is. “You’re Gonna Miss Me,” said the Thirteenth Floor Elevators, and man, we do.

The original “Nuggets” showcased a few acts, such as The Electric Prunes, 13th Floor Elevators and The Shadows Of Knight, who did enjoy a bit of a career (or at least established a legend) in music, though many of the acts featured on its additional discs rapidly disappeared back into obscurity, leaving behind just one fantastic single to prove they existed. Collectively, though, these short-lived 60s US outfits bequeathed us a seminal psych-flavoured smorgasbord to tuck into – one which vinyl lovers can again greedily chow down on thanks to the expanded “Nuggets’ first appearance on wax.

A seminal collection, this 5LP edition easily tops our list of the best Record Store Day 2023 releases.

Original mixes by album producer Graham Gouldman and 3 additional songs from the sessions not included on the original album. Will feature alternative artwork found in the Warner Library. Yellow vinyl

Produced by 10cc’s Graham Gouldman, The Ramones’ sixth studio album, “Pleasant Dreams”, remains an unsung part of the NYC punks’ catalogue. Even polarising opinion within Ramones themselves, many of the album’s pop-punk highlights “She’s A Sensation”, “The KKK Took My Baby Away” and the angry “We Want The Airwaves” are right up there with the best Ramones songs. Pleasant Dreams makes a timely return on yellow vinyl, its status as one of the best Record Store Day 2023 releases secure, thanks to the inclusion of three extra tracks and alternate artwork from the vaults.

The Ramones’ “Pleasant Dreams” might not receive the accolades “Leave Home” or “Rocket to Russia”, but it is an interesting work in its own right. In 1981, Joey’s pop heart and Johnny’s hard-rock leanings converged to deliver one of the most sonically diverse works in the band’s catalogue. These rough and ready New York mixes with album producer Graham Gouldman yield raw versions of favorites such as “We Want The Airwaves” and “The KKK Took My Baby Away” as well as three songs not included in the original track listing, namely the Beach Boys-evoking “Touring” (which would later appear on 1992’s “Mondo Bizarro“). If you’re curious about how this record sounded before the 10cc guy glossed it up, make sure you pick this up.

Released On Sire Records

The early 80s was quite a time for Talking Heads fans. Not only were the band releasing seminal albums such as “Remain In Light”, but the individual members all weighed in with memorable solo projects. David Byrne and Brian Eno’s “My Life In The Bush Of Ghosts” copped the critical plaudits, while Chris Frantz and Tina Weymouth won hearts with their spin off Tom Tom Club. However, guitarist/keyboardist Jerry Harrison was the dark horse, with his underrated solo debut, 1981’s “The Red And The Black“, tapping into a dense and fascinating seam of urban funk. Still ripe for rediscovery, the record returns as part of a suitably fetching red and black vinyl set; it’s been recut from the original master tapes and comes with a disc of previously unreleased outtakes and alternate mixes.

Whether it was with the Modern Lovers or Talking Heads, multi-instrumentalist Jerry Harrison was the secret weapon that pushed both groups to creative heights. His 1981 solo debut is one of the lost treasures of the Talking Heads multiverse, featuring guest vocals from Nona Hendryx and guitar sparks from current tourmate Adrian Belew. This limited edition expanded edition to be released on Record Store Day adds on a full bonus LP worth of instrumental versions of the album’s funky, angular nine songs, recut from the original tapes.