Posts Tagged ‘Intervention Records’

Intervention Records is proud to announce the latest LP in its (Re)Discover Series, The Church’s 1988 smash “Starfish” (IR Catalog IR-027/UPC 707129301567).

The Church’s Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit “Under the Milky Way,” and “Reptile,” both First Wave staples. Intervention’s 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks not on the original LP. These bonus tracks kick off with wonderful acoustic versions of “Under the Milky Way” and “Antenna.” The other tracks are so strong it’s very apparent that “Starfish” could have been a potent double LP.
“Starfish”
is 100% Analog Mastered from The Original Master Tapes by Ryan K. Smith at Sterling Sound.

Intervention’s cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with full bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from tapes assembled by Ryan K. Smith.

The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces its stampers every 500 copies so every pressing is is a hot stamper. 

Starfish’s  album art was lovingly restored by Intervention’s Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an “Old Style” gatefold made by wizards at Stoughton printing in LA. It’s printed on heavy stock and film-laminated for superior color depth, beauty and durability. The centre labels are printed by Dorado.

“Under the Milky Way,” still one of the most haunting and elegant songs ever to make the Top 40.” – AllMusic

Artist-Approved Expanded Edition Double LP8 with amazing bonus tracks!.
100% Analog Mastering From The Original Master Tapes by Ryan K. Smith at Sterling Sound

The pandemic continues to have a profound impact on Intervention’s key partners. Earlier this year both Stoughton Printing, the company that makes our amazing jackets, and our pressing plant RTI shut down for a period, and have struggled to catch up since. Earlier this week Stoughton announced it has suffered a small Covid-19 outbreak and needs to close again until February 1st.  When Stoughton reopens it hopes to be at or near full capacity. Where this affects Intervention and its fans and friends is that The Church “Starfish”release is delayed since we can’t get the jackets completed for several more weeks. There is something of a domino effect here, as we cannot get in RTI’s queue until the jackets are done and delivered. Starfish is the fifth album by the Australian rock band The Church, released in April 1988. The band’s international breakthrough album, “Starfish” went gold in America and has remained their most commercially successful release. 

The high guitar priests of the Australian band the Church have been making pretty much the same record for nearly eight years with twin guitars overlapping in crystal formations of pinging harmonics, staircase arpeggios and clarion twangs and singer-bassist Steve Kilbey’s voice walking a thin line between a melancholy drone and an embittered hiss. Yet no two Church records ever actually sound alike. At its most compelling, the band scrambles the real and the surreal with ease, rattling its stately guitarchitecture with howling north-wind echo and the troubled undertow of Kilbey’s enigmatic lyrics. It’s like being in the middle of a recurring but constantly evolving dream where only the faces remain the same.

The first single, “Under the Milky Way”, charted in the US Billboard peaking at No. 24, leading to significant exposure of the then relatively underground Australian act. “Under the Milky Way”  was recorded/produced in Los Angeles including renowed L.A. session musicians Waddy Wachtel and Greg Ladanyi.  The recording is more sparse and open than its predecessor, Heyday, which featured orchestral arrangements with brass and strings. Many of its songs have seen heavy rotation in live set lists, and the album remains a favourite among many fans. The song “Under the Milky Way” was co-written by Kilbey with his then-girlfriend Karin Jansson of Pink Champagne. When drummer Richard Ploog was unable to find the right feel for the song, the band played to a click track and session musician Russ Kunkel was brought in to add the drums and percussion later.

The album’s title was taken from singer/bassist Steve Kilbey’s nickname for friend/ musical partner Donnette Thayer, who signed herself that way on postcards she sent to Kilbey. Kilbey contributed a long untitled poem to the album’s liner notes. “Hotel Womb” has dream-themed lyrics relating to an imagined wedding. Music videos were filmed for “Under The Milky Way” and “Reptile.” The fifth season of the US TV show, Miami Vice, featured two songs from the album. “Under the Milky Way” was used in an episode called “Asian Cut” and “Blood Money” was showcased throughout the episode “Heart of Night”. Starfish, The Church’s sixth and possibily their best LP, is about the spaces between the faces and about the tensions that fill those spaces. “Our instruments have no way/Of measuring this feeling,” Kilbey sings with edgy resignation in “Destination,” heightening the icy picking of guitarists Peter Koppes and Marty Willson-Piper with visions of musty old bones, stormy weather and “clapped-out swingers. “Blood Money” could be about nothing more sinister than a whore and her john (“She says, ‘Why can’t you get hard/Because you paid for this now in cold hard cash?'”), although the dripping sarcasm in Kilbey’s voice and the metallic sting of the guitars hint that this sexual transaction has more to do with emotional piracy.

There is certainly a lot of betrayal “Reptile” and dislocation “Lost” on tap on this album. At times, it’s hard to reconcile Starfish’s richly appointed production – pillowy strumming, aqueous reverb, the sunshine blast of synthesized bagpipes in “Under the Milky Way” with the negative energy charging some of these relationships. But it’s the very contrast of otherworldly ambiance and sly baroque lyricism with the earthy erotic tug that lights up songs like “Hotel Womb” and Willson-Piper’s “Spark.” On “Hotel Womb” the urgent guitars stoke Kilbey’s vocal despair like a “White Light-White Heat” for distraught young lovers.

For a number of other dates on the American tour, the band was paired with another of their heroes: Tom Verlaine of Television. Verlaine supported The Church. For their encore every night (“You Took”), they brought Verlaine on stage with them for a three-way guitar duel. Some fans consider the Verlaine/Church shows to be some of the best live performances they’ve ever witnessed. Starfish set up the band’s well-deserved breakthrough in the States,” and added that the performances throughout “are at the least fine and at the most fantastic.

During the tour drummer Richard Ploog became gradually disengaged from the band during this tour, even though he stayed with The Church for another two years. The exact nature of his malady is unknown but most agree that LSD exacerbated his condition. There were degrees of internal strife within the band and a high pressure of expectation from Arista Records. Because of this, Kilbey smoked more pot on this tour than at any other point in his life – such large quantities that he routinely coughed up blood. By the tour’s end, The Church had performed 94 shows across the US, Canada, Europe, the UK and Australia.

The Church:

  • Steve Kilbey – bass, lead vocals 
  • Peter Koppes – guitars, lead vocals
  • Marty Willson-Piper – guitars, lead vocals
  • Richard Ploog – drums, percussion
Additional musicians:
  • Greg Kuehn – keyboards
  • Russ Kunkel – drums and percussion
  • David Lindley – mandolin
  • “Awesome Welles” – Synclavier
  • Waddy Wachtel – Guitars backing vocals

What sets Starfish a notch above other distinguished Church hymnals, like 1986’s Heyday and the 1982 import beauty The Blurred Crusade, is its remarkable musical unity and refined dramatic poise. “Under the Milky Way” is the closest the band has come to adapting its expansive guitar chorales to potential-hit-single form since “The Unguarded Moment”

While my hope at this point is that these LPs are in stock and shipping in June, I’m calling it summer of 2021 and crossing fingers and toes that it comes sooner. I am so sorry for this delay! The test pressings sound AMAZING, the artwork will be stunning and you will be thrilled! 

Artist-Approved 2X LP Expanded Edition!, 8 Bonus Tracks Not Included On Original Vinyl Release!

Co-founded by former Byrds members Chris Hillman and Gram Parsons, the Flying Burrito Brothers formed their own massive country-rock family tree: Rick Roberts, the band’s guitarist in the early ’70s, later fronted Firefall; guitarist Bernie Leadon left for the Eagles; and pedal-steel guitarist “Sneaky” Pete Kleinow recorded with just about any pop or rock artist who craved a little twang. The Burritos only released one album in the ’60s, but it’s enough to warrant their inclusion: 1969’s ‘The Gilded Palace of Sin’ is a high watermark of the genre, adding elements of psychedelia and gospel to their country core.

On the heels of recent releases including the first-ever reissue of Gene Clark’s classic A&M album White Light, Intervention Records has turned its attention once more to a group of California legends with ties to The Byrds: The Flying Burrito Brothers.  Following its previous release of the Burritos’ debut “The Gilded Palace of Sin” on both hybrid SACD and deluxe vinyl, Intervention will reissue the band’s sophomore LP, “Burrito Deluxe”, in those formats.  The 180-gram vinyl LP will arrive by October, .

Burrito Deluxe marked the second and final album by the country-rock pioneers to feature founding member Gram Parsons.  Drummer Michael Clarke, late of Gene Clark’s duo with Doug Dillard, came on board along with another Dillard and Clark alumnus, guitarist Bernie Leadon.  Chris Hillman, who played guitar on Gilded Palace, moved over to bass to replace Chris Ethridge.  Pedal steel guitarist “Sneaky” Pete Kleinow continued to round out the roster.

The sad story of the Flying Burrito Brothers is that they were always far, far ahead of their time. Hillman “We had always hoped the band would become as successful as the Byrds were, but it never happened. We never had a hit single . . . just a lot of ups and downs. It was a magical, very productive period in my life. But nobody was really ready for us. Now, even the new Flying Burrito Brothers are doing all right. I do really suspect their motive, though. It’s like me hiring four other guys and calling myself the Byrds. My point, though, is what we were doing is real popular now. For God’s sake, I watch these groups with their rhinestone suits on, singing out of tune, playing shitty, and they’re being accepted. It breaks my heart. “We all worked so hard with that band. Goddamn it, we deserved success.”

Like most bands in their position, the Flying Burrio Brothers splintered out of desperation. Chris Hillman was helping Stephen Stills with his third solo album at the time of the final breakup. When Stills promptly offered him a partnership in Manassas, it seemed a comfortable solution to post-Burrito depression. “We were always more of a band than people thought,” Hillman recalls fondly. “Stills wouldn’t have been the same without us, that’s for sure. Stills was playing a concert in Cleveland with the Memphis Horns. I was sitting in the audience, going, ‘Jesus Christ. They’re making 25,000 bucks and they’re shitty. The Burritos are better than this.’( Rolling Stone ’72)

Like the first album, Burrito Deluxe blended both band originals and cover versions – this time including Bob Dylan’s “If You Gotta Go (Go Now),” Harlan Howard and Wayne Kemp’s “Image of Me” (most closely associated with Conway Twitty), the southern gospel standard “Farther Along,” and most notably, Mick Jagger and Keith Richard’s “Wild Horses” – a year before The Rolling Stones released it themselves.  The opening track, Parsons’ “Lazy Days,” also had history as it was previously recorded by both The International Submarine Band and The Byrds, though neither version had been released at the time.  Just two months after the release of the album in April 1970, Parsons was fired from the group he founded.  He would be replaced by Rick Roberts for the band’s next LP.

Intervention’s 180-gram vinyl LP reissue has been remastered by Kevin Gray from original analog tapes (a 1/2-inch safety copy of the original stereo master), and has been pressed at RTI in an old-school Stoughton-printed “tip-on” jacket.  The artwork has been restored by Tom Vadakan and features red foil accents on the front cover.  Look for this country-rock classic on vinyl in October.

The Flying Burrito BrothersBurrito Deluxe (A&M SP-4258, 1970 – reissued Intervention Records IR-022, 2018)

Intervention Records is thrilled to announce The Flying Burrito Bros. classic 1970 sophomore effort Burrito Deluxe on 180-gram vinyl.

Burrito Deluxe is the second and final hot Burrito made while the band was still led by former Byrds member Gram Parsons. The Flying Burrito Bros. are widely viewed as the inventors of country rock and are one of the most influential bands of all time. “Burrito Deluxe” is another classic full of great tunes written and sung by Parsons and Chris Hillman.

The original LP art is restored by IR’s Tom Vadakan and the old-style, “tip-on, brown-in” LP jacket is printed by Stoughton and features super deluxe red foil accents on the front cover. For years now, we’ve touted Intervention Records’ superlative work in the vinyl reissue front.  The team’s attention to detail, impeccable artwork, and stellar sonics across genres have given them a reputation in the reissue world as one of the best.  Their established quality in the LP world happily extends to the digital realm, as well.

Is this the album that made country cool? Former Byrds Gram Parsons and Chris Hillman picked up where they left off with Sweetheart of the Rodeo with this stunning masterpiece of a debut album by The Flying Burrito Bros. While Parsons had already pushed rock in a country direction during his brief stint with The Byrds and The International Submarine Band, The Gilded Palace of Sin is why the Burritos are widely viewed as the inventors of country rock. Indeed with this album, Hillman and Parsons carved a substantial place in music history as one of the most influential albums and bands of all time.

The Gilded Palace of Sin was 100% Analog Mastered by Kevin Gray at CoHEARent Audio from the best source available- a phenomenal sounding 1/2″ safety copy of the original stereo master tapes. All of the top-end energy and “snap” of the original A&M LP is preserved, while the bass foundation is fully restored to make this new Intervention reissue the definitive listening experience for this classic LP! , For their sophomore album, the band’s original songs were joined by a country classic (“Image of Me,” popularized by Conway Twitty), a gospel standard (“Farther Along”), and tunes by Dylan (“If You Gotta Go”) and the Stones (the first recording of “Wild Horses”). “Burrito Deluxe” featured Gram Parsons, Chris Hillman, “Sneaky” Pete Kleinow, Bernie Leadon, and Michael Clarke plus guests including Leon Russell (tickling the ivories on Leadon and Parsons’ “Man in the Fog” and the Glimmer Twins’ “Wild Horses”).  It would prove Parsons’ final album with the group.

Gene Clark’s classic album “White Light” coming soon on CD/SACD from Intervention Records!

Gene Clark’s (The Byrds) classic solo album White Light is coming soon , Mastered Direct-to-DSD by Kevin Gray of CoHEARent Audio from Real Analog Tapes this hybrid CD/SACD plays on medium players and features super jewel box packaging. All Music calls this 1971 masterpiece “…one of the greatest singer/songwriter albums ever made.” When you hear our reissue of White Light, we are sure you will agree.

Gene Clark’s 1971 classic “White Light” is a bittersweet and knowing statement from a singer/songwriter at the peak at his creative powers. Having fronted The Byrds, Clark on his own here is stripped down in guitarist Jesse Ed Davis‘ stark production. The lyrics, singing and guitar playing are so powerful that less production here is immeasurably more musically.

Judee Sill performing on a British TV show in April 1972 while on tour to promote her first album.

Intervention Records have announced that Judee Sill’s classic 1971 debut, Judee Sill (Cat# IR-016), and her stellar followup Heart Food (Cat# IR-017) have both been re-issued. Each album is cut as a double-45RPM LP set and pressed on dead-quiet 180-gram vinyl. Both LPs are anticipated to street in June 2017 and are available for pre-order now. Sill’s rising stardom was one of misfortune and adversity that culminated in her death at the age of 35.

Judee Sill’s career had all the makings of a great singer-songwriter story. She was at the center of the 1970s folk-rock scene in California, alongside contemporaries like Jackson Browne and J.D. Souther. she toured with major musicians like Graham Nash and David Crosby, who both contributed to her debut album.

In a sea of male singers and songwriters, Sill emerged, along with Joni Mitchell and a handful of others, as one of the few women who wrote and sang their own songs.

The astonishing Judee Sill was the first artist signed to David Geffen’s Asylum Records, and Judee Sill the first album released on the label. Sill’s music is intensely spiritual, redolent of mystical and divine imagery, yet grounded by great songwriting and a pure but powerful singing talent. Her songs impart incredible intimacy that is enhanced by her sometimes complex string arrangements (remarkably Sill arranged and conducted the strings/orchestra on these albums!).  

Sill’s life was tragic personally and professionally. Her father and brother were killed when Sill was young, and her tempestuous relationship with her alcoholic (and remarried) mother resulted in her leaving home at 15. She committed robberies and began a battle she was destined to lose against drug addiction. When stardom didn’t follow the critical acclaim of these two albums her career never recovered. Sill was dead from a drug overdose in 1979 at just 35. Judee Sill was working on songs for her third album when she died.

To escape her fractured family, Sill made decisions that would land her in reform school and later, in jail.

After her first marriage, right out of high school, was quickly annulled, Sill sought a way to deflect from her unhappiness. An acquaintance introduced her to a man who was experienced in armed robbery, who brought her along on his excursions to liquor stores and gas stations. By the time she was 20, she had been caught and sent to reform school. Her second marriage, in her early 20s, was to a man she met while attending Los Angeles Valley Junior College. He introduced her to heroin. “I knew I was gonna become a junkie, and I did,” Sill told Rolling Stone. At one point she turned to prostitution to fund their habit.

Through it all, she dabbled in music. In each of the chapters that form her life — from spending time in her father’s bar, where, as a young girl, she “started playin’ piano and found out I could harmonize with myself,” to reform school, where she worked as the church organist, finding early inspiration from gospel music

It was during a stint in jail, having been caught for forgery and narcotics possession, that she started fantasizing about writing her own songs. After she was released, she immersed herself in the practice. Music became the central force in her life, and she found inspiration for her songs in books about religion and the occult. “I could see that I was gonna have to write songs that were about those things,” she told Rolling Stone. “I came to some important inner realizations, tryin’ to make the laws of nature work for me instead of against me. I felt instinctively that it was my duty to throw myself into it all the way, so I did.”

She sold one of her songs, “Lady-O,” to the rock band the Turtles, which released it as a single that made it onto the Billboard pop chart in 1969. She would record the song for her first album, two years later. Her debut album, called simply “Judee Sill.” From the first song, “Crayon Angels,” to the last, “Abracadabra,” her lyrics addressed the metaphysical.

“Jesus Was a Cross Maker,” the only song on the album produced by Graham Nash, was released as a single. (The rest of the album was produced by Henry Lewy.) After a devastating breakup with a fellow songwriter, Sill read Nikos Kazantzakis’s 1952 novel, “The Last Temptation of Christ,” as a salve, which led her to the seeds of the song.

“I was so excited when I was writing’ that song because it was not only the best thing I’d ever written, and I knew it, but it took the weight off my heart and turned it into somethin’ else, and I was able to forgive the guy for the horrible romantic bummer he’d put me on,” she said. “And I gained a new kind of strength from it, from that combination of forgiveness and creation.”

The brevity of Judee’s musical legacy is outweighed by the emotional power and weight of these two extraordinary albums. “Judee Sill” and “Heart Food” were AAA mastered directly from the original analog master tapes by Kevin Gray at Cohearent Audio. The master tapes are in beautiful shape, and listeners will be blown away by the revelatory inner detail and three-dimensionality retrieved from these achingly gorgeous recordings. These new Intervention reissues represent THE definitive listening experience for these classic LPs! The original LP art has been beautifully restored by IR’s Tom Vadakan and the old-style, “tip-on, brown-in” gatefold jackets are printed by Stoughton.

Warren Zevon, Shawn Colvin and others have covered her songs; the multi-hyphenate Greta Gerwig sang one, “Rugged Road,” in a scene in the 2010 film “Greenberg.” Every decade or so her music is reissued. Intervention Records obtained the rights to her albums in 2017.

In 1974 Judee Sill recorded material for a third album at the studio of Michael Nesmith, best known as a member of the Monkees. Those songs were released in 2005 as “Dreams Come True,” a double CD, by Water Records.

This is the vinyl release of Matthew Sweet’s 1991 classic has always deserved and the best edition of “Girlfriend” you’ll ever have … Matthew Sweet’s essential 1991 power-pop tour-de-force gets its analog due on Intervention’s Expanded Edition 180-Gram Double-LP release!

Girlfriend’s original 1991 LP release was a single LP that simply excised the last three songs that were included on the original 15-track CD release. Those three tracks were a tremendous loss as the song’s final, elegiac track “Nothing Lasts” was considered as the title track.

Intervention’s amazing Double LP Expanded Edition restores the original 15-song repertoire to three vinyl sides for maximum bass and dynamics. Side D includes three demo tracks- “Good Friend,” “Superdeformed” and “Teenage Female.” Girlfriend’s album art was lovingly restored by Intervention’s Art Director Tom Vadakan, and printed as a gorgeous “Old Style” gatefold

Hello Sweet fans and audiophiles!, Matthew Sweet here to tell you a little bit about a very special reissue series I’ve been working on together with Intervention Records.

This year we’ll be releasing fully-remastered, deluxe 180-gram vinyl as well as SACD editions of Girlfriend, Altered Beast, and 100% Fun—plus, for the very first time on vinyl, Son of Altered Beast.

Label head Shane Buettner and the rest of the Intervention Records team have done a beautiful job with these albums. Each record was fully remastered from the original analog master tapes by Ryan K. Smith in the fully analog lab at Sterling Sound in New York City. They are rich, detailed, and LOUD!

I’m particularly excited about the extra tracks; this is the first vinyl edition of Girlfriend to ever include the three-song coda (“Does She Talk?” “Holy War,” and “Nothing Lasts”). On Altered Beast and 100% Fun you’ll find B-sides and rarities like “Superdeformed” and “Ultrasuede” plus a few you may never have heard before.

Our friends at Pledge Music are helping us bring these records from the mastering lab straight to your turntable along with a ton of very cool pre-order package options. In addition to premium vinyl or SACD, we’ve gone back in the archives to reproduce original tour merch from each album cycle, plus some newly designed items based on the classic artwork. Maybe you’d like a set of Test Pressings signed by me? A handwritten lyrics sheet to “I’ve Been Waiting” or “Ugly Truth”? These, and many more options are available for you to choose from on my Pledgemusic page.

I’ll be posting updates as the campaign unfolds so be sure to purchase an Access Pass so you can stay in the loop from the moment you make a Pledge until your purchase arrives in the mail.

Your enthusiasm and ongoing support of my music all these years means so much. I can’t wait for you to hear these remasters.

Billy Squier‘s 1981 second solo album “Don’t Say No” sold over three million copies because of songs “In the Dark”, “My Kinda Lover”, “Lonely Is the Night” and the big hit “The Stroke”. Billy Squier grew up in the Boston suburbs as an only child (“Life isn’t easy from the singular side” he sings in the opening to “In the Dark”), the son of an executive of the Converse Shoe Company. So in the Squier household growing up, it’s safe to assume that Buddy Holly shared star billing with Bob Cousey, Bill Russell and John Havilcek of the Boston Celtics.
Billy Squier was introduced to John Mayall’s Bluesbreakers at age 14, which introduced Billy to guitarist Eric Clapton, changing everything for the young adolescent American. Squier’s desire got him first to Boston University. Then his talent got him into the prestigious Berklee College of Music, but the first half of the Seventies were spent pretty much shuffling in and out of bands in Boston and New York City.
Then Billy Squier got his first taste of the record business, recording two albums on a major label fronting the band Piper in 1976 and 1977 before splitting up. Undeterred, Squier landed a lucrative solo deal and debuted with 1980’s The Tale of the Tape, containing “The Big Beat” which I played to great response on ROCK 103/ Memphis. So it was with eager anticipation that Don’t Say No was received in April 1981.

Intervention Records is thrilled to present Billy Squier’s 1981 rock anthem, “Don’t Say No” in a brilliantly remastered Artist-Approved Edition. The classic rock staple catapulted Squier’s career to new heights. His live shows became arena rock sensations and four tracks from this album became classic rock radio staples in heavy rotation today: “In the Dark,” “The Stroke,” “My Kind of Lover” and “Lonely is the Night.” The original LP art has been restored by IR’s Tom Vadakan to a beautiful single-pocket gatefold and the Old-Style, “Tip-On” LP jacket is film-laminated and printed by Stoughton.

Don’t Say No is the second album by Billy Squier, Released on April 13th, 1981. It stands as Squier’s biggest career album, including the hits “In the Dark”, “Lonely Is the Night”, “My Kinda Lover” and “The Stroke”. The album hit the Top Five on the Billboard album chart and remained on the chart for over two years (111 weeks)

“The Stroke” was the first single, reaching number 17 and an even bigger hit at rock radio, hitting number 3 on the Mainstream Rock chart. The song even dented the British Pop charts, rising to number 52. The video for “The Stroke” — as most of the music videos from both Don’t Say No and its follow-up, Emotions In Motion is a straight-ahead performance piece, featuring Squier on an arena stage. Billy’s many videos were staples on the then brand-new channel MTV Channel which brought him increased popularity.

The album is a near-perfect example of early-’80s melodic hard rock, and even less enduring (but hardly inferior rockers) such as “You Know What I Like” and “Lonely Is the Night” keep up the intensity. And Squier also finds time for the occasional ballad, like the disarmingly gentle “Nobody Knows.” Completists may want to review his mid-’90s double-disc anthology, but as far as studio albums are concerned, Don’t Say No is undoubtedly his best and a pure classic.

“In The Dark” followed “The Stroke” into the Top 10 of the Album Rock Tracks chart. “Lonely Is The Night” and many other tracks from the album were hugely popular on AOR (Album Oriented Rock) radio stations.

Don’t Say No belatedly received a Triple Platinum award in 1992, certifying sales of over 3 million US copies. In early 2018, Intervention Records reissued Don’t Say No on 180-gram vinyl .The reissue is Artist-Approved and according to Squier “arguably the best-sounding version ever.

Matthew Sweets Essential 90s Albums Artist-Approved Expanded Edition 180-Gram Vinyl Double LPs!

You definately need these Artist-Approved 180-gram vinyl double LP reissues*. Loaded with extra tracks 100% Analog Re-mastered from THE ORIGINAL MASTER TAPES by Ryan Smith at Sterling Sound. Packaged in “Old-Style” tip-on deluxe gatefold jackets printed by Stoughton featuring faithfully restored original album art!

“Altered Beast” is available in late August. “Girlfriend” and “Son of Altered Beast” are shipping in late autumn 2018. 100% Fun available now! ,*Son of Altered Beast is a single not double LP. All fully artist-Approved Expanded Editions. Intervention Records and Matthew Sweet are proud to introduce an amazing NEW Artist-Approved reissue series, Matthew Sweet 1991-1995!

In 2018 Intervention is releasing 2-LP Expanded Editions of Sweet’s 90’s power-pop classic Trilogy, Girlfriend, Altered Beast and 100% Fun, plus the Son of Altered Beast 7-song EP, which appears on vinyl for the very first time!

Each Expanded Edition double-LP set of the three classic studio albums is loaded with extra tracks. So many of these songs are either appearing on vinyl for the very first time or seeing official release for the very first time. And for Sweet completists, these LPs are the most extensive collection of extra tracks compiled and packaged with the studio albums the songs were recorded for!

The original 15-song repertoires for Girlfriend and Altered Beast are for the first time spread across three LPs sides for maximum sound quality and the ability to PLAY LOUD!

The jacket art for Matthew Sweet 1991-1995 has been faithfully restored by IR’s art director Tom Vadakan. The three Expanded Editions feature beautiful “Old Style” gatefolds printed onto heavy blanks and film laminated by the wizards at Stoughton Printing. Son of Altered Beast features a single-pocket “Old Style” GATEFOLD jacket by Stoughton as well.

With the wind in his sails stirred up by the success of his previous album Girlfriend, Matthew Sweet did what any young musician in his position would have with the follow up: he went for broke. He wrote more daring arrangements that brought in a country element to his power pop attack, dove deeper lyrically and, most importantly, roped in a bunch of his musical idols to join in the fun. The liner notes for Altered Beast read like a who’s who of the pop and post-punk universe with regular collaborators Ivan Julian and Richard Lloyd joined by Big Star’s Jody Stephens, Mick Fleetwood, pianist Nicky Hopkins and Elvis Costello’s drummer Pete Thomas.

Their collective work has never sounded better than it does on this remastered vinyl pressing from the ever-reliable Intervention Records. The album is wisely stretched out to a double LP, with the fourth side taken up by a batch of studio outtakes, some previously unavailable here in the States. They flesh out the story nicely, with even more of Sweet’s ‘70s rock acumen and ‘80s punk playfulness coming to the fore. It all sounds more remarkable than ever thanks to the work of mastering engineer Ryan K. Smith. Every song sounds like it is bursting out of its seams and ready to flatten a major metropolis.

Analog Planet’s Michael Fremer reviewed our trio of Joe Jackson reissues and came away impressed: “As we’ve come to expect from Intervention, the Tip-on packaging is first rate as is Kevin Gray’s mastering from analog tape, pressed on 180 gram vinyl at RTI.” But wait there’s more!  On “Look Sharp!” .. you’ll love the reissue, which offers sharper, cleaner transients, improved transparency and focus and greater dynamics. It preserves a pulsing energy the original softens and diminishes.” I’m the Man: “ … this Intervention reissue smokes the original in all of the ways that matter on a drum’n’bass’n’guitar driven record: sharper, cleaner transients, greater dynamic slam, and bass that digs all the way down.Night and Day”… The Intervention reissue again beats the original A&M Records release in every way .

Joe Jackson’s “angry young man” stance came late in the cycle and so at the time was less than fully convincing. Elvis and Graham had already been there and done that. The picture of Jackson on the back cover of his debut Look Sharp (IR-005) just wasn’t convincing.

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More importantly, the music and especially the lyrics seemed derivative but boy, could the band play and cut those sharp-edged rhythms! Songs like “Sunday Papers” covered familiar territory but the hook on “Is She Really Going Out With Him?” dug in and the songs were generally tightly sprung and well crafted though “Happy Loving Couples” sounded way too much like “Less Than Zero”. On the Reggae rhythmed “Fools in Love” Jackson is a cynical outsider looking at love from a particularly jaundiced and needy point of view. Overall, his social commentary lacked focus and bite, while his relationship songs came across as bitter. Jackson knew how to modulate the dynamics and exhibited a musical sense that indicated he was low-balling his abilities to fit the time’s stripped down ’50’s derived musical fashion.

Look Sharp! was simply but cleanly recorded in what sounds like mono. If you like the original, you’ll love the reissue, which offers sharper, cleaner transients, improved transparency and focus and greater dynamics. It preserves a pulsing energy the original softens and diminishes. Cymbals chime smartly, Graham Maby’s bass lines are tautly drawn, and Dave Haughton’s drum kit produces slam the original blunts. Plus the pressing quality helps produce blacker backgrounds.

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Jackson’s follow-up “I’m The Man” features a cover showing Jackson as consummate flim-flam man and while the title song is about a material goods salesman, it can also be seen as Jackson getting ready to slough off the Get Sharp! “musical hula-hoops” image, though the title tune may be Jackson’s pinnacle as a hard rocker.

The album opens with “On the Radio”, a sweet revenge song that also indicates the production has softened and warmed somewhat the debut album’s hard and bright edges. In “Geraldine and John” Jackson cynically observes a cheater and a break-up. “Kinda Cute” again cuts too close to the bone of an Elvis Costello song. Later on “The Band Wore Blues Shirts”, which has in parenthesis (a true story), Jackson paints an empty picture of being a musician in a nightclub house band. In “Don’t Wanna Be Like That”, Jackson paints a negative picture of the L.A. scene from his particular point of view, again as an outsider. At the end his bitterness sharply pokes through his observational stance as he hints at his own predicament: “And the Playboy centerfold leaves me cold/And that ain’t ’cause I’m a fag”. The album’s final few songs are lyrically unfocused, or rather, inconsequential relationship observations as if Jackson’s attention span on the subject was spent—though “Amateur Hour” features a lovely melody.

Again, this Intervention reissue smokes the original in all of the ways that matter on a drum’n’bass’n’guitar driven record: sharper, cleaner transients, greater dynamic slam, and bass that digs all the way down. The perspective is again nearly if not fully mono, which increases the importance of the instrumental separation and clarity.

I’m the Man came across then and now as a “bridge” album to either more of the same next time, which would have been a career-stall, or something new demonstrating musical and personal growth. Still, probably few fans were prepared for Night and Day, where Jackson basically said “fuck this angry young man shit, here’s who I really am (musically and otherwise).”

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On the front cover Jackson is seen at the piano (where he dared not previously go) in a Hirschfeld-like pen and ink sketch, looking very much like the Cole Porter toward which the album’s title points. The newly liberated Jackson is shown in the gatefold “deal with it” photo standing before a plethora of keyboard and mallet instruments—all percussion—plus a couple of bass guitars. Not an electric guitar in sight but plenty of latin rhythms packed into the grooves.

The album opens with Jackson stepping into a rhythmically sophisticated “Another World” backed by congas and xylophone. Jackson’s liberation continues song by song as he’s moved beyond “boy/girl” to more sophisticated fare. “Stepping Out” presents the newly liberated Jackson in full sophisticated flower but not before the embarrassing Talking Heads rip-off “T.V. Age”, which I bet Jackson wishes he could take back.

“Real Men” gets to the heart of where Jackson’s been heading—the sexual liberation and another dose of tearful bitterness because he’s not one of the pretty boys he’s observing and in any case, liberation is leading to confusion. It’s a powerful song and worlds away from “Is She Really Going Out With Him?”. It’s Jackson being really tough but without shouting and on the final tune you hear Jackson finally singing satisfied about his relationship instead of observing others—though he’s still got a bitch, but it’s about the club D.J..

The Intervention reissue again beats the original A&M in every way as above. I think Mobile Fidelity once issued this years ago and I had it but got rid of it I can’t remember why, but probably because the old Mo-Fi regime laid on the excess bass and muddied the middle.

Fans of these records will want all three but more casual fans looking for one should get Night and Day both for the music and far more sophisticated ‘recorded in New York City’ sound.

As we’ve come to expect from Intervention, the Tip-on packaging is first rate as is Kevin Gray’s mastering from analog tape, pressed on 180 gram vinyl at RTI.