Posts Tagged ‘Re-issue’

Buy Online The Charlatans - Between 10th & 11th (Expanded Edition)

The second album by the British alternative rock band The Charlatans “Between 10th and 11th” was originally released on 23rd March 1992. and features the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”.

When Tim Burgess isn’t busy hosting his Twitter listening parties (if you haven’t already, make sure you check them out HERE) or playing as a solo artist, he’s once again riding high with indie icons The Charlatans and to celebrate thirty years since the release of their seminal second album ‘Between 10th and 11th’, the Manchester lads are bringing out a new Expanded Edition.

Between 10th and 11th was originally released in the Spring of 1992 and include such game changing singles as ‘Tremelo Song’ which would become their biggest selling song to the US to date. Criticism within and without settled on Flood’s production style as well, his crisp, technically sharp abilities seem to go against the band’s natural flow. In hindsight, though,it is much stronger than its reputation, with many fans proclaiming it their favorite. It’s partly due to Burgess more up-front vocals.

Similarly, Rob Collins keyboards stand out more, either shading or leading the songs perfectly. “Weirdo,” the album’s lead single and strongest point, has a brilliant lead organ break from Collins and series of great funk stabs that became his strongest performance ever. Equally fine is the electric piano start to “Tremolo Song,” leading to a deep Blunt bass and sassy flow of a song. Mark Collins also fill out their parts equally well, with Flood’s production strengthening and creating excellent arrangements for everyone as a whole. His numerous touches are really something, from the sudden shift to buried/flanged production on “Ignition” to “Subtitle”‘s atmospheric mixing and burbling bass. Other highlights include the string-laden charge of “Can’t Even Be Bothered” and the concluding “No One (Not Even the Rain)”.
‘Between 10th and 11th’ (Expanded Edition) will include a remaster of the original album, plus plenty of bonus material in the form of the entire live disc devoted to their heralded 1991 Chicago gig know as Isolation 21.2.91. – with even more on the bonus CD!

The Band:
Tim Burgess – lead vocals
Mark Collins – guitars
Rob Collins – Mellotron, Hammond organ, piano, backing vocals
Martin Blunt –Bass guitar
Jon Brookes – drums

You can grab a copy of The Charlatans ‘Between 10th and 11th’ (Expanded Edition) right now


Love have unearthed four previously unheard Arthur Lee songs for a remastered deluxe reissue of their final LP, 1974’s ‘Reel to Real’ . Pioneering psychedelic band Love are reissuing their final LP, 1974’s Reel to Real, in remastered deluxe format with 12 bonus tracks (including four newly discovered Arthur Lee originals). High Moon Records – the same label responsible for last year’s limited-edition reissue of the band’s lost-then-found 1973 LP, Black Beauty – will release the first-ever CD/digital versions of Reel to Real on November 27th; vinyl editions, available for the first time in over four decades, will be available February 19th, 2016.
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.

The deluxe Reel to Real will include a booklet featuring an essay from Rolling Stone contributor David Fricke and unpublished photos. The set will also feature 12 bonus tracks, 11 of which are previously unreleased; these include alternate takes and mixes, live-in-the-studio rehearsal versions and four newly discovered Lee songs (“Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It”). A statement describes the tracks as “three fully-produced rockers and a spare, Imagine-era John Lennon-by-way-of Sly Stone studio sketch.”
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.

High Moon Records, the label behind the recent releases of Love’s Black Beauty and Gene Clark’s Two Sides to Every Story, has announced its next title. On November 27th, High Moon will reissue Love’s 1974 album “Reel to Real” as a newly-expanded Deluxe Edition in the following formats:

Expanded CD packaged in a deluxe custom digipak with a full-color, 32-page booklet;
LP pressed on high-quality RTI vinyl with full-color, 28-page LP-sized booklet;
LP includes download card for high-quality album plus bonus tracks; and
Digital Download includes full-color, 26-page PDF booklet.
Reel to Real was the first album from Arthur Lee’s groundbreaking rock band since 1970’s Blue Thumb album False Start. Originally released on Robert Stigwood’s RSO label and produced by Skip Taylor, it featured Lee alongside his Black Beauty band (drummer Joe Blocker, guitarist Melvan Whittington, and bassist Robert Rozelle) and presented a more soulful side of the frontman. He wrote or co-wrote every track on the album other than a cover of William DeVaughn’s “Be Thankful for What You Got.” Long the rarest item in the Love catalogue, Reel to Real has never previously been available on CD. Sweetening the pot, High Moon’s upcoming deluxe edition will feature 12 bonus tracks, 11 of which are previously unreleased.

These bonus cuts encompass alternate takes and mixes, live-in-studio rehearsals, and four newly-discovered Arthur Lee originals: “Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It.” Other bonus track highlights include an extended, alternate mix of “Busted Feet,” the single mix of “You Said You Would,” and an impromptu studio rehearsal of Forever Changes outtake “Wonder People (I Do Wonder).”

The album has been remastered from the original tapes, and the CD features a 32-page booklet with a new essay by David Fricke of Rolling Stone as well as a number of candid, previously unpublished photos. The CD edition is due on November 27, while the LP is scheduled for release on February 19, 2016. Both editions are currently available for pre-order at the links below!

Love, Reel to Real (RSO SO 4804, 1974 – reissued High Moon Records, 2015)

CD: Amazon U.S. / Amazon U.K. TBD
LP: Amazon U.S. / Amazon U.K. TBD

Time Is Like A River
Stop The Music
Who Are You?
Good Old Fashion Dream
Which Witch Is Which
With A Little Energy
Singing Cowboy
Be Thankful For What You Got
You Said You Would
Busted Feet
Everybody’s Gotta Live
Do It Yourself [Outtake]
I Gotta Remember [Outtake]
Somebody [Outtake]
You Gotta Feel It [Outtake]
With A Little Energy [Alternate Mix]
Busted Feet [Alternate Mix]
You Said You Would [Single Mix] (RSO single SO-506, 1974)
Stop The Music [Alternate Take]
Graveyard Hop [Studio Rehearsal]
Singing Cowboy [Alternate Take]
Everybody’s Gotta Live [Electric Version]
Wonder People (I Do Wonder) [Studio Rehearsal]
Tracks 12-23 are previously unreleased except Track 18 as indicated above

To celebrate the 35th anniversary of the release of “Love Will Tear Us Apart,” Rhino has re-issued four iconic Joy Division albums on heavyweight 180-gram vinyl. Each design replicates the original in painstaking detail, including the gatefold covers used for Still and Substance. The music heard on the albums was remastered in 2007 when Rhino introduced expanded versions of the albums.

Joy Division recorded two albums, Unknown Pleasures and Closer, before singer Ian Curtis tragically took his own life in 1980. But what the Manchester quartet lacked in longevity, it more than made up for in quality. The band’s only two studio albums were groundbreaking and helped shape the sound and mood of the alternative music that followed in the band’s wake.

The compilations Still and Substance fill in the missing pieces of the band’s history with non-album singles (“Transmission” and “Love Will Tear Us Apart”), unreleased studio tracks (“Something Must Break” and “Ice Age”), and choice live recordings (“Disorder” and the only performance of “Ceremony.”)

Released this week, watch our unboxing of the new ‘Sparkle In The Rain’ box set (Super Deluxe Edition) from Simple Minds. “Sparkle in the Rain” is the sixth studio album released by Simple Minds,  originally on 6th February 1984. A breakthrough commercial success for the band, the record peaked at number one in the UK Albums Chart on 18th February 1984, and reached the top 20 in numerous other countries around the world, including New Zealand, Netherlands, Sweden, Canada,Switzerland, Germany,Norway, and Australia. Receiving mostly positive reviews in the United Kingdom and the United States, Sparkle in the Rain was ultimately certified double platinum in the UK by the British Phonographic Industry, and significantly increased media interest in the band.

Signs of a possible change to a musical direction into a more stadium-oriented sound first became apparent during a series of live performances in the summer months of 1983 by Simple Minds to huge European crowds. Lead singer Jim Kerr returned to a natural, style, as “whatever they would have to say would be in the music. “Those gigs brought us back to the rawest kind of state, I think,” Kerr said. “In places like that, 50,000 people, there’s just no room for subtlety,  This saw the band coming into direct contact with U2 for the first time at the Belgian rock festival Torhout-Werchter; upon meeting the two bands immediately developed a strong liking for each other. Jim Kerr remarked, “we saw a lot of ourselves in them and vice versa,” and refuted the accusation that Simple Minds were merely joining the “new rock” led by U2. We get this thing levelled at us of being influenced by them, but they’re equally influenced by us. It might be in a much subtler sense, in dynamics or some of the sounds.

A new song, Waterfront, was performed by the band when selected as “special guests” of headline acts U2 at Dublin‘s Phoenix Park in August 1983. “The song’s throbbing pulse and enormous sense of space suggested the way the band were thinking,” Adam Sweeting commented, “the elaborate, almost ornate arrangements of New Gold Dream (81/82/83/84) were receding into the distance. Simple Minds were making bigger music for bigger occasions. Shortly afterwards, the band were looking for a producer for their forthcoming sixth album; initially Alex Sadkin, of the Compass Point All Stars, was sought after due to his work with Grace Jones, but his schedule was incompatible with that of Simple Minds.  Steve Lillywhite however, had wanted to produce for the band for a long time, and ultimately Simple Minds completed a three-way Celtic grouping along with U2’s War and Big Country‘s The Crossing under Lillywhite

In September 1983, Simple Minds travelled to Monnow Valley Studio in Rockfield, near Monmouth in Wales, for three weeks to work on some new material; Steve Lillywhite accompanied them for the last two weeks to meet the musicians and suggest some modifications to their music. This material consisted of around six tracks developed during a session the band had spent at a recording studio called The Chapel in Lincolnshire in January, and other initial samples recorded in London‘s Nomis Studios before their performance at Phoenix Park. At Rockfield, most of the tracks were dramatically changed, as they had begun as demos consisting only of work by Mick MacNeil and Charlie Burchill, with some drum and bass machine sounds overlapping. With drummer Mel Gaynor now having fully integrated himself into the band, the songwriting was beginning to be influenced consistently from all group members.

The group relocated to Townhouse Studios in London by October, by which time their updated material retained “only a bassline or keyboard melody from the original four-track demo”. As a producer, Lillywhite differed from Peter Walsh on the previous album by going with “the feel of the moment” rather than following “any preconceptions about he wanted the album to turn out”. He tried to emphasize musical unity between the band members; for instance, he pressed Jim Kerr to write lyrics for songs as soon as he could, such that his vocal melodies were influenced by the instrumentation. “On their earlier records, everyone’s parts didn’t really bear much resemblance to everyone else’s,” discussed Lillywhite. “Mick would be fiddling away like this, Charlie would be going like this, then Jim would come in and sing something completely different to what the other two were doing. Whereas I now think Jim is taking some of the melodies from the guitar and the keyboards, which he didn’t use to, which makes it more like a song. Burchill likened Lillywhite’s producing style and manner to that of the film director Werner HerzogGenerally starting studio work at eleven o’clock in the morning, the band found the recording process repetitive, as each track was meticulously refined and sharpened through multiple iterations. With this leading to the group becoming tense and distracted, Lillywhite occasionally asked the band members to vacate the studio while he worked on mixing. The album’s working title was Quiet Night of the White Hot Day, which eventually survived as a lyric in the complete album’s seventh track “White Hot Day”. The recording process drew to a completion with Lillywhite and the band adding some finishing touches to Up on the Catwalk“; Jim Kerr sang some additional lines that had been stored in his notebook instead of name-dropping some extra famous people towards the song’s end. Minor imperfections in phasing and pitch were then corrected to complete the album.

Sparkle in the Rain is a generally rock-oriented album, a departure from the new wave aesthetic of its critically acclaimed predecessor New Gold Dream (81/82/83/84).  Jim Kerr, before its release, described the forthcoming Sparkle in the Rain as an “art record . without tears with masses of muscle”. The band’s new drummer Mel Gaynor, who had contributed for some tracks on the previous record, agreed on the album’s aggressiveness: “On this album I’m getting a few of my ideas across, not only in the drumming field but in other fields as well. It’s a lot different from New Gold Dream, both sound-wise and material-wise. The last one was very smooth, very polished. This album’s got a bit more dirt in it.” Regarding the role of producer Steve Lillywhite, Brian Hogg wrote that Sparkle in the Rain “captured the bravura of their in-concert sound” and Lillywhite “introduced a dynamic, often contrasting, perspective quite unlike the panoramic standpoint of its predecessor, but there was no denying the resultant brash excitement.”The recording process of “Up on the Catwalk”, “Forbes and Gaynor had combined to create a steamrolling rhythm track which came hammering out of the opening chorus like a runaway train.

The album’s musical style thus: “Synth-beats throb over Charlie Burchill’s new wave third-chord guitars and swooning basslines…Piano vibes are pinch-hitting and Kerr’s songwriting thrives on celebrity and the falling grace that coincides that.” The overall effect of the instrumentation is a “densely packed juggernaut of an LP”, the “big, spacey feel” of “Waterfront” and Other slower tracks include the instrumental “Shake Off the Ghosts” and the “pensive” “‘C’ Moon Cry Like a Baby”, while the punk-revivalist “The Kick Inside of Me”, “straining vocal and stinging guitar” of “Speed Your Love to Me“, and “pounding percussion and keyboards” of “Up on the Catwalk” and “Book of Brilliant Things” emphasize the album’s more intense sound. the guitar now having won the battle of dominant instrument.

Due to a desire to release the album worldwide simultaneously, Simple Minds decided not to put the record out for sale before Christmas 1983, releasing Sparkle in the Rain on 6th February 1984. The first UK pressing was issued on white vinyl;  Sparkle in the Rain produced three UK Top 40 singles. The first was “Waterfront”,  It remains one of the band’s signature songs to this day. The album was also preceded by the release of “Speed Your Love to Me”  and  “Up on the Catwalk” .

Virgin Records reissued Sparkle in the Rain as a remastered edition on 21st October 2002; this edition features improved sound quality and faithfully reproduced artwork and packaging from the original record. Around 2006, a set of eight demos for the album from 1983 were leaked to the internet. The drumming for “Speed Your Love To Me” is less dramatic, while “Book of Brilliant Things” is driven by a much stronger bass line than the album version. “White Hot Day” is at a slower tempo, and “Shake Off the Ghosts” sounds more related to the instrumental B-side “Brass Band in Africa” at this stage.

On 16th March 2015, a new 4CD/DVD deluxe remastered boxset of Sparkle In the Rain is to be released, containing B-sides and remixes on Disc 2, and live performances and radio sessions on Disc 3 and 4. The DVD will contain a 5.1 DTS Surround Sound Mix of the album, a 5.1 Dolby Surround Sound mix, and a stereo mix, as well as the promotional videos for the singles and various live performances. The album was remastered in 2014 at Abbey Road Studios by Steve Wilson.

The Marissa Nadler album Little Hells is now available again on vinyl! !!
It was produced by Chris Coady, and features among others Simone Pace of Blonde Redhead and Dave Scher from Beachwood Sparks. The rad cover art was done by Conrad-Keely of ..And You Will Know Us By The Trail Of Dead Here’s a track from that album called Heart Paper Lover, with a droney haze of a video accompanying.

Taken from the new Led Zeppelin 1V Deluxe Edition to be released with alternative mixes and unreleased studio outtakes, this alternative take has the drums more to the fore