Posts Tagged ‘Rhino Records’

Few singer-songwriters embodied the late-’70s California sound as much as Jackson Browne.  He started out writing for others in the previous decade, but broke onto the scene as a solo artist with his 1972 self-titled debut (sometimes referred to as Saturate Before Using).  Five years later, he made waves with Running On Empty, a collection of 10 new songs recorded live during his 1977 tour.  Several tracks were taken from the band’s performance at Merriweather Post Pavilion in Maryland and the Garden State Arts Center in Holmdel, New Jersey.  But further tracks were recorded in more intimate spaces — various hotel rooms, rehearsal spaces, or “on a bus (a Continental Silver Eagle) somewhere in New Jersey.”

No matter the space, Browne and his band (featuring David Lindley on lap steel and fiddle, along with members of The Section) delivered stellar performances that have been lauded by critics since the album’s original release more than four decades ago. Running On Empty became Browne’s best-selling album, peaking at No. 3 on the Billboard Albums chart and eventually achieving a 7x Platinum certification from the RIAA.

Now, that legendary album – featuring such classics as “Running On Empty” and “The Load-Out / Stay” – will be re-released on CD, vinyl, and through digital download and streaming providers.  Arriving on July 5th from Asylum/Rhino, the new edition of Running On Empty features a fresh remaster by Gavin Lurssen of Lurssen Mastering.  The vinyl edition, meanwhile, was mastered by Ron McMaster and will be presented on 180-gram vinyl pressed at Pallas.

Jackson Browne caught the attention of fans with a notable single track, “Doctor My Eyes” from his debut release, often referred to as Saturate Before Using (1972). From there, Jackson Browne became an essential staple of Southern California Rock alongside such artists as Poco, The Eagles, Linda Ronstadt, David Lindley, and Warren Zevon. He released several more classic studio sets, including The Pretender album before issuing a live set that would elevate him to a higher status as a recording artist.

The Section featuring Craig Doerge, Danny Kortchmar, Leland Sklar and Russ Kunkel reunite with Jackson Browne at the 2018 NAMM TEC Awards held at the NAMM Show in Anaheim, CA., to perform “Running On Empty”.

On July 12, Elektra will reissue Running On Empty on CD, and vinyl LP and present the classic album with new remastering. However, there are no other adds to this set. The ten songs from the original were tracks performed in various live settings like hotel rooms, tour bus, stages, and a rehearsal room. A DD version will arrive sooner for the remastered classic on July 5.

A single reissue of newly remastered “The Load Out”/”Stay” was released on June 21st digitally.

While some fans may want to hold onto their long-out-of-print previous editions, the newly remastered CD, vinyl, and digital versions that arrive on July 5th will no doubt be essential listening for those who might be new to Browne’s music.

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The B52's / Cosmic Thing 2CD deluxe

By the release of Cosmic Thing (1989), The B-52s were already four albums deep into the time frame (five if you count the excellent David-Byrne produced EP, Mesopotamia). But Cosmic Thing added a booster rocket to the band’s music delivering four hit singles, two of them highly recognizable classics (“Roam”, “Love Shack”). This gave the band a raucous and memorable “tin roof…rusted” quadruple platinum selling album. Six of the album’s songs were produced by Nile Rodgers in New York City, and the remaining four by Don Was in upstate New York. The band embarked on the Cosmic Tour to promote the album.

Many observers were prepared to write off the B-52’s after the release of Bouncing Off the Satellites. Granted, the album was completed in the wake of Ricky Wilson’s death, but the group appeared bereft of new musical ideas and were sounding rather stale. In other words, the last thing anyone expected was a first-class return to form, which is what they got with “Cosmic Thing”. Working with producers Don Was and Nile Rodgersthe B-52’s updated their sound with shiny new surfaces and deep, funky grooves — it was the same basic pattern as before, only refurbished and contemporized. Just as importantly, they had their best set of songs since at least Wild Planet, possibly since their debut. “Cosmic Thing” and “Channel Z” were great up-tempo rockers; “Roam” had a groovy beat blessed with a great Cindy Wilson vocal; and “Deadbeat Club” was one of their rare successful reflective numbers. Then there was “Love Shack,” an irresistible dance number with delightfully silly lyrics and hooks as big as a whale that unbelievably gave the group a long-awaited Top Ten hit. The thing is, Cosmic Thing would already have been considered a triumphant return without its commercial success. The big sales were just the icing on the cake.

On June 28th, Rhino Records will help The B-52s celebrate the album’s 30th Anniversary with a 2CD set 30th Anniversary Edition of Cosmic Thing.

David Coverdale’s successful run with Whitesnake produced a legitimate string of twelve studio albums. Of those, Slide It In (1984), its 8-million units followup, the self-titled Whitesnake(1987), and Slip Of The Tongue (1989) were the most fan-explored classics.

Following up the splendid Saints & Sinners album was no easy task, but 1984’s Slide It In turned out to be an even greater triumph for David Coverdale’s Whitesnake. From the boisterous machismo of “Spit It Out” and “All or Nothing” to the resigned despair of “Gambler” and “Standing in the Shadow,” and the embarrassingly silly title track, everything seems to click. For hit singles, look no further than the twin guitar attack of “Guilty of Love” and the sheer poetry and emotion of “Love Ain’t No Stranger,” one of the decade’s greatest power ballads, bar none. Not to be outdone, “Slow an’ Easy” is a masterpiece of sexual tension and the kind of power-blues which no one does as well as Whitesnake. On a quirky historical note, Coverdale fired most of the band soon after the album’s release, replacing them with younger, prettier faces with which to better conquer America. For that purpose, Geffen Records even released a re-recorded version of Slide It In with flashy soloing from new guitarist John Sykes, sparking an ongoing debate as to which version is better.

On March 22nd, Rhino Records will reissue “Slide It In” as a 35th Anniversary Edition complete with a brand new 2019 remaster represented in an expansive 6CD/DVD Ultimate Edition, as well as a 2CD Deluxe Edition with both US and UK mixes, with a selection of bonus tracks, and a single CD (US Mix) for the album only, along with a 2LP vinyl edition.

The 6CD/DVD Ultimate Edition will provide both the US and UK mixes of the album along with unreleased live and studio recordings. The DVD will include promo videos, concert footage, and an interview with David Coverdale. The bonus CDs will include unreleased versions of every song on the original album, monitor mixes, and brand new 35th anniversary remixes. One of the six CDs will include 30 bonus tracks of demos and early mixes of Slide It In. One of the CDs will include an entire 1984 Glasgow concert performance and will include a few live Sweden performance tracks with Jon Lord’s final show with the band. This 6CD/DVD Box will include a 60-page hardbound book filled with photos, essays, notes, and credits.

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Two weeks ago, hot on the heels of releasing their new double album, Let It WanderCircles Around The Sun cancelled their 5-date Northeast tour due to an “urgent health matter”. Now, the question of who’s health was in question and why Circles Around The Sun had to cancel their tour seems to have been answered.

You’re watching the official music video for Circles Around The Sun – ‘One For Chuck’ from their new album ‘Let It Wander’. ‘Let It Wander’ is the second album from Circles Around the Sun, but the quartet agrees that in many ways it feels more like their first.

Rolling Stone magazine said: “Let It Wander is a two-CD set of even deeper spells that thread suggestions of Little Feat–style grooves and Bernie Worrell’s percolating synthesizers in Parliament-Funkadelic through the German mid-Seventies space travel of Tangerine Dream and the offbeat churn of the Dead’s “Estimated Prophet.” – David Fricke

Three years ago, guitarist Neal Casal formed the band with keyboardist Adam MacDougall (his bandmate in the Chris Robinson Brotherhood), bassist Dan Horne and drummer Mark Levy to record some Grateful Dead-influenced instrumentals to be played during the set breaks at the Dead’s “Fare Thee Well” concerts. “That was supposed to be the end of it,” Casal says.
Instead, there was an album, Interludes for the Dead, followed by several acclaimed live performances. The response was so positive, and the band was having so much fun making music together, that they agreed to keep it going, MacDougall says. “The chemistry the four of us had was instant and undeniable. It felt like we’d barely scratched the surface of what we could do, which is why we wanted to get back in the studio.”
It took nearly three years, but Circles Around the Sun – usually shortened to CATS.
Band Members
Neal Casal, Adam MacDougall, Mark Levy, Dan Horne

“One For Chuck” from the full-length album ‘Let It Wander’, out August 17th, 2018 on Rhino Records.

 

Later this month, Depeche Mode will launch a series of box sets collecting the band’s 12-inch singles.  On August 31st, the first two boxes, Speak & Spell and A Broken Frame, will be released.  All audio in this series has been newly remastered from the original tapes and cut at Abbey Road Studios.

The first box, Speak & Spell: The 12″ Singles, collects all of the singles around the era of the British electronic band’s 1981 debut Speak & Spell.  It kicks off with a replica of the rare flexidisc containing “Sometimes I Wish I Was Dead” b/w Mute Records labelmate Fad Gadget’s “King of the Flies,” and continues with three 12-inch singles headlined by “Dreaming of Me,” “New Life,” and “Just Can’t Get Enough.”  The original single versions of both “New Life” and “Just Can’t Get Enough” reached impressive peaks in the U.K. at No. 11 and No. 8, respectively.  Despite their success, however, Speak & Spell proved to be Depeche Mode’s only album with founding member Vince Clarke.

 

The second box set, A Broken Frame: The 12″ Singles, addressed the period of the band’s 1981 sophomore album, their first to feature Martin Gore.  This box has three 12-inch singles, with the A-sides “See You (Extended Version),” “The Meaning of Love (Fairly Odd Mix),” and “Leave in Silence (Longer).”  All three songs placed in the U.K. top 20, with “See You” reaching the top ten.

 

Depeche Mode commented in the press release, “Our 12-inch singles have always been incredibly important to the band.  It’s great to be able to re-share these songs with old and new fans in the way they were originally intended to be experienced.  We hope you enjoy them as much as we do.”  The cover of each box set features street art iconography inspired by the original albums, while the sleeves of the actual 12-inch singles are replicas of the originals.

Look for the first two box sets from Rhino and Mute Records on August 31st!  You’ll find full track listings and pre-order links below!

Speak & Spell: The 12″ Singles (Mute/Rhino, 2018)

Flexidisc (released as Flexipop 011, 1981)

  1. Sometimes I Wish I Was Dead – Depeche Mode
  2. King of the Flies – Fad Gadget

Dreaming of Me 12″ (released on 7″ as Mute Records 7 MUTE 013, 1981)

  1. Dreaming of Me
  2. Ice Machine

New Life 12″ (released as Mute Records 12 MUTE 014, 1981)

  1. New Life (Remix)
  2. Shout! (Rio Remix)

Just Can’t Get Enough 12″ (released as Mute Records 12 MUTE 016, 1981)

  1. Just Can’t Get Enough (Schizo Mix)
  2. Any Second Now (Altered)

A Broken Frame: The 12″ Singles (Mute/Rhino, 2018)

See You 12″ (released as Mute Records 12 MUTE 018, 1982)

  1. See You (Extended Version)
  2. Now This Is Fun (Extended Version)

The Meaning Of Love 12″ (released as Mute Records 12 MUTE 022, 1982)

  1. The Meaning Of Love (Fairly Odd Mix)
  2. Oberkorn (It’s a Small Town) (Development Mix)

Leave In Silence 12″ (released as Mute Records 12 BONG 1, 1982)

  1. Leave In Silence (Longer)
  2. Further Excerpts From: My Secret Garden
  3. Leave In Silence (Quieter)

The tendency of musicians to reflect on previous artistic hits as they age is a natural response to the sense that there is less time ahead of them than behind. Perhaps why a similar sense of mortality that has spurred Neil Young to catalog his life on an exhaustively researched website has caught up with Emmylou Harris. It would explain why we get an expanded reissue of The Ballad of Sally Rose, one of her least commercially popular efforts, but now 33 years old and ripe for rediscovery.

Emmylou Harris’ 1985 song cycle, was partially inspired by Bruce Springsteen’s reflective album Nebraska, was the first album where she wrote or co-composed every tune, most in conjunction with boyfriend and soon-to-be husband singer/songwriter/producer Paul Kennerley. Perhaps not surprisingly, Kennerley helmed his own song cycle, The Legend of Jessie James, back in 1980 that featured Harris (as James’ wife) and other high profile country musicians. Sally Rose was already an alias Harris used but you don’t need to know that to realize the story is a thinly veiled, semi-autobiographical telling of her own short lived but highly influential relationship with Gram Parsons. Some of the specifics are changed — “Sally was born in the Black Hills of Dakota” goes the lyric to the title cut, and Harris was not but there are enough other references to cement the personal connection. She bares her soul in an album’s worth of originals that both tell the story (like in the J.J. Cale lope of “Rhythm Guitar”) and let the listener fill in the blanks, as on the glistening, string-enhanced ballad “Diamond in My Crown” where she sings “I shall not disavow/ all these ties that bind me now.”

The ballad-heavy set clocks in at just over 35 minutes yet is never rushed in telling its not-so-fictional tale of Sally Rose, a fledgling singer taken under an unnamed high profile act’s wing who becomes a star herself after his highway related death (“Bad News”). In the story she ends up buying a radio station (“K-S-O-S”) though, something Harris never did. The project was clearly a labour of love for Emmylou who invited friends Linda Ronstadt, Dolly Parton and Vince Gill along with her Hot Band members Hank DeVito and Albert Lee to assist. None of this has aged a day and tracks like “Sweetheart of the Rodeo” and the gorgeous gospel-infused “Sweet Chariot” remain as pertinent and touching as when they were written.

Closing track from the underappreciated album, The Ballad of Sally Rose, and her tribute to the great Gram Parsons.

Even though Sally Rose was an artistic success and nominated for a Grammy, it was a commercial disappointment, despite, or more likely because of, it’s unusually personal approach. It also didn’t spawn any hit singles. Rhino and Harris reassess this somewhat forgotten gem by remastering the original album and adding a second disc of previously unreleased, (mostly) unplugged demos, all rawer than the polished recording and worth hearing.

The combination of both the original 13 songs and 10 demos still barely breaks an hour which makes expanding this to two short discs with a list price of almost $25 (a double vinyl edition is even higher) seem a bit mercenary. Still, the exquisite Ballad of Sally Rose deserves the deluxe treatment and if this reissue sparks a revitalized, belated respect for this oughta-be-classic, 

Buffalo Springfield Album Art

Before playing their final show on May 5th, 1968, Buffalo Springfield released three studio albums on ATCO during an intense, two-year creative burst. Those albums – Buffalo Springfield, Buffalo Springfield Again, and Last Time Around have all been newly remastered from the original analog tapes under the auspices of Neil Young for the new boxed set: WHAT’S THAT SOUND? THE COMPLETE ALBUMS COLLECTION.

The set includes stereo mixes of all three albums, plus mono mixes for Buffalo Springfield and Buffalo Springfield Againand all  will be available on June 29th from Rhino Records as a five-CD set. High resolution streaming and downloads will be available through www.neilyoungarchives.com.

On the same date, the albums will also be released for the first time ever on 180-gram vinyl as part of a limited-edition set of 5,000 copies . The 5-LP box features the same mono and stereo mixes as the CD set, presented in sleeves and gatefolds that faithfully re-create the original releases.

Stephen Stills, Neil Young, Richie Furay, Bruce Palmer and Dewey Martin played their first show together as Buffalo Springfield in 1966. The same year, the band recorded and released its self-titled debut, which included the iconic protest song, “For What It’s Worth,” featuring lyrics as poignant now as they were then, in addition to standouts like “Burned,” “Do I Have To Come Right Out And Say It,” and the band’s first single, “Nowadays Clancy Can’t Even Sing.”

The group spent the first half of 1967 making Buffalo Springfield Again, which was the first album to feature songs written by Furay (“A Child’s Claim To Fame.”) Stills and Young both contributed some all-time classics with “Bluebird” and “Rock And Roll Woman” from Stills, and “Mr. Soul” and “Expecting To Fly” from Young.

When Last Time Around came out in July 1968, the band members were in the midst of transitioning to new projects: Stills famously joined David Crosby and Graham Nash in CSN; Young went solo; and Furay started Poco with Jim Messina, who produced Last Time Around and played bass on two of the songs. Highlights abound on the album with Young’s “I Am A Child,” Furay’s “Kind Woman” and Stills’ “Uno Mundo.”

Following expansions of The Cars’ Candy-O and Panorama, the classic New Wave group (one of this year’s Rock and Roll Hall of Fame inductees) will expand two more in their classic discography in the spring.

Rhino Records will release 1981’s Shake It Up and 1984’s Heartbeat City with rare and previously unreleased bonus tracks on March 30th. CD and double LP editions will be available, and will utilize the 2016 remasters overseen by co-lead singer Ric Ocasek as well as art direction overseen by drummer David Robinson. (For the box set The Elektra Years, Heartbeat City changed from a burgundy cover to white, in accordance with the group’s original vision; that design choice repeats here.) Ocasek and Robinson have also sat for new interviews for David Fricke’s liner notes for each title.

A total of 15 bonus tracks appear between both packages, from B-sides (“Breakaway,” from the Heartbeat City period), dance mixes (among the band’s only ones: the Top 20 hit “Hello Again”), a cover of The Nightcrawlers’ “The Little Black Egg” (the backing track of which was used for Bebe Buell’s covers EP) and the two exclusive tracks from the band’s seminal 1985 greatest hits set: the Top 10 smash “Tonight She Comes” and a remix of Shake It Up‘s “I’m Not the One.” Gems from the vault include early versions and demos of “Shake It Up,” “Since You’re Gone,” “Drive,” “Heartbeat City” and “Coming Up You,” later released on the group’s 1987 effort Door to Door.

Shake It Up and Heartbeat City continued the Boston quintet’s dominant turn from New Wave masters to pop-rock hitmakers. These albums, respectively produced by Roy Thomas Baker (his fourth consecutive collaboration with the group) and ascendant pop-rock craftsman Robert John “Mutt” Lange, contain The Cars’ biggest hits, including their first Top 10 track, “Shake It Up”; the power-pop gem “Since You’re Gone,” and bestsellers like “You Might Think” (remembered for its cutting-edge-at-the-time MTV video), “Magic” and the simmering ballad “Drive,” sung by the band’s late bassist Benjamin Orr and the band’s biggest hit.

 

The Cars / Heartbeat City and Shake It Up expanded editions

Spring is going to be pretty swell for The Cars, what with the band being inducted into the Rock and Roll Hall of Fame, but for Cars fans, it’s going to be all about the SHAKE IT UP: EXPANDED EDITION and HEARTBEAT CITY: EXPANDED EDITION both releases. Due March 30th, each includes remastered versions of the original albums, rare and previously-unreleased bonus tracks, and illustrated booklets featuring new interviews with Ric Ocasek and David Robinson as well as liner notes by noted rock critic David Fricke. We know it’s going to be a long wait for March 30th to get here, but to help you endure the suffering, we’ve got something for you right now: the demo for the band’s HEARTBEAT CITY hit, “Drive.”

 

In March, Rhino will reissue Marillion‘s 1994 album “Brave” as a 4CD+Blu-ray deluxe edition and a 5LP vinyl set. Following the release of last year’s remixed expansion of Misplaced Childhood, neo-prog rockers Marillion are jumping ahead to one of their top albums of the 1990s to reissue: 1994’s Brave, this was their seventh album.

Brave was the third Marillion album with vocalist Steve Hogarth, who replaced Fish as frontman in early 1989. A stark departure from 1991’s Holidays In Eden, their most pop-centric album, Brave told the story (based on actual events) of a girl discovered by police on England and Wales’ Severn Bridge with no memory of how she got there. Recorded over nearly a year in a French castle, the location – including recordings of nearby caves for ambience – contributed to the album’s drawn-out sense of unease. (The original vinyl edition offered two possible endings to the story, thanks to a set of double grooves on the fourth and final side.)

The deluxe set with the optical discs features a brand new stereo remix by Steven Wilson, the original 1994 mix by Dave Meegan, and two CDs of “Live At La Cigale” performance from ’94. The audio has been newly remixed by Michael Hunter, and features a performance of Brave in its entirety. This is now the complete performance as it has been expanded with nine unreleased tracks. The full performance of Brave from this set originally appeared on the double live set Made Again in 1996, and is now expanded to feature all the material apart from the album the band played that day. Additional Blu-ray extras include It All Began with the Bright Light, a new documentary on the album; three promo videos and “The Great Escape (Spiral Remake),” the dour album closer featured on the second groove of the vinyl version. (The accompanying 50-minute film for the album will unfortunately not be included.)

The blu-ray contains 96/24 audio of Steven Wilson’s remix of the album in stereo and 5.1 surround sound, as well as promo videos for the album’s singles and a new documentary about the album that includes concert footage and interviews with the band. The 5LP vinyl box contains the Steven Wilson stereo mix on the first two records and the live performance on the remaining three LPs.

Both the CD/Blu-ray and vinyl versions of Brave are accompanied by illustrated booklets that recount the story behind the album. Brave will be reissued on 9th March 2018

Live at Lafayette's Music Room-Memphis, TN

Originally released as disc four of Rhino’s 2009 box set “Keep an Eye on the Sky”, “Live at Lafayette’s Music Room” captures performances Big Star gave in January 1973 at Lafayette’s Music Room in their hometown of Memphis, Tennessee. This is the same site that hosted the band’s legendary show during the May 1973 Memphis Rock Writer’s Convention — a gig that was instrumental in building buzz for Big Star — so this comes tantalizingly close to replicating how Big Star may have sounded on that storied date.

During this first half of 1973, Big Star were a band in transition, getting their sea legs after the departure of Chris Bell. His presence hangs heavy, with Alex Chilton singing songs Bell sang on No#1 Record and his DNA evident on such newer songs as “Back of a Car” and “O My Soul,” but it’s also evident how Big Star are turning into a rangier, rougher outfit under the undisputed leadership of Alex Chilton. The band feels tougher and funkier, particularly on the clutch of covers that conclude the album: Gram Parsons’ bruised country-rock classic “Hot Burrito #2” becomes a swaggering Stonesy rocker; a version of T. Rex’s “Baby Strange” seems like the blueprint for the Replacements, and the band drills down to the essential sleaze of Todd Rundgren’s “Sleaze.” This rawness, so absent on Big Star’s two finished studio albums, is the reason why Live at Lafayette’s Music Room is worth hearing even for non-fanatics: It proves that this power pop group was also a rock & roll band.

Live At Lafayette’s Music Room-Memphis, out on  (Omnivore Recordings) . It cemented them into legendary status due to the writers who witnessed it and carried the message of Big Star out in their writing, even though the band had only released one album, No#1 Record, and were unsure of recording a second after the departure of co-founder Chris Bell. What may not be so widely known is that the trio played the same venue four months earlier with the same power and passion opening shows for the Houston R&B band, Archie Bell & The Drells.