Tag Archives: reissues

Anti- Reissues Neko Case

UpdooAnti- Records has reissued three Neko Case albums: 2006’s Fox Confessor Brings The Flood, 2000’s Furnace Room Lullaby, and 2002’s Blacklisted. Not sure what was wrong with the Bloodshot versions of those albums, but Amazon claims they’ve been remastered…

Bonus material for the updated version of Fox Confessor will boast a previously unreleased demo version of the song “Behind The House,” plus a four-song sampler that includes full-length versions of Blacklisted excerpts “Deep Red Bells” and “I Wish I Was The Moon,” plus the title track from Furnace Room Lullaby and the album’s first cut “Set Out Running.”

MP3s:

Neko Case – “Hold On, Hold On” from Fox Confessor Brings The Flood

Neko Case – “Star Witness” from Fox Confessor Brings The Flood

Neko Case – “Train From Kansas City” from The Tigers Have Spoken

Neko Case – “If You Knew” from The Tigers Have Spoken

Sly and the Family Stone Reissues

Epic/Legacy is finally releasing remastered editions of Sly & the Family Stone’s first seven studio albums on March 20, each with several bonus tracks and new liner notes. This is long over due.

Sly’s catalog has been criminally neglected. The label rushed out horribly mastered versions of the most popular albums in the early days of compact discs, but it took them until 1995 to release CD versions of the first three Sly albums, A Whole New Thing, Dance to the Music, and Life, each with a single bonus track: “What Would I Do,” “Soul Clappin’,” and “Only One Way Out of This Mess,” respectively. And now even those have gone out of print.

Hopefully this material will finally be given the respect it deserves.

The Clash – The Singles (box set)

The Clash - The Singles (box set)The ClashThe Singles (Legacy)

It’s not lost on me that when London Calling and Sandinista! were originally released, The Clash forfeited their royalties so that the multi-record sets could be sold for the same price as a single album. A quarter century has passed, Joe Strummer is gone, and Mick Jones has traded character for cocaine, so it should surprise no one that the band’s label is doing everything possible to eek out every last dime that The Clash’s limited catalog has to offer. Gone are the days of consumer-minded pricing; the latest catalog revamp places every one of the band’s 19 UK singles in a 19-disc box set that spans their entire career. The Singles is a completist’s dream and is priced high enough to sway new listeners away from using the release as a starting point.

But I’m willing to bet that novices who spin London Calling for the first time will jump head first into the rest of the catalog and, quite possibly, end up at the same point that I was when I shelled out the $64.95 needed to say “I have every one of the Clash’s singles in one convenient package.” Call me a music geek, a completist, or a sap for buying into Sony’s thinly-veiled marketing efforts; I’m perfectly content, nay, happy, about my purchase of The Singles.

Continue reading The Clash – The Singles (box set)

The Cure – Three Imaginary Boys

The CureThree Imaginary Boys [Deluxe Edition] (Rhino)

It’s hard to remember that the Cure has been around since the 70s. Had they split up after 1989’s Disintegration, they’d be hailed as the most important alternative band of the 80s. The Cure’s influence on 90s alt-rock makes even the Pixies seem like, well, a band that never influenced anybody. But before the Cure found their calling as pioneers of synth-heavy mope rock with long, noodley intros, they were a quirky pop-punk band. A three-piece even! That incarnation of the band did not last very long one album and a handful of singles are all we’ve got from that era.

Three Imaginary Boys was never officially released here in the States; we instead got Boys Don’t Cry, a classic collection of the early singles combined with the best album tracks. If you’re only familiar with Boy Don’t Cry and have never heard the original, you might be disappointed by the handful of original songs that didn’t make the cut&#8212″Another Day,” “Meathook,” and “It’s Not You” are far inferior to the a-sides that replaced them: “Boys Don’t Cry,” “Jumping Someone Else’s Train,” and “Killing an Arab.” Three Imaginary Boys‘ Hendrix cover, “Foxy Lady,” sung by bassist Michael Dempsey, is a goofy mess, and the original hidden instrumental, now titled “The Weedy Burton,” is a throwaway lounge trifle. (The best non-Cry song, “Object,” was actually a bonus track on the cassette but was left off the 1990 cd reissue.)

The second disc in this new Deluxe Edition annoyingly places barely listenable live tracks and forgettable demo versions alongside classic singles and decent outtakes. What’s really frustrating about Disc 2 is what it doesn’t include. Where’s “Killing an Arab”? Where’s “Plastic Passion”? At least the latter was included on the Join the Dots box set, but the exclusion of “Killing an Arab” is utterly inexcusable. It was their first single! And it’s about Camus’ The Stranger, for crying out loud, so only a complete barbarian would perceive any racist sentiment in it. Other period b-sides would be preferable to the mediocre-audio demos, but I can respect that you wouldn’t want to penalize fans who shelled out the dough for Join the Dots. But why not gather the fantastic Peel Sessions?

Oh well, you can’t get everything you want, and the quality of the first disc more than makes up for the gripes about the second disc. The remastering sounds excellent, and the songs are really great! Sure, a lot of the guitars sound cheap and tinny. They were. This is the sound of a young band trying to figure out what they want to be. And they never sounded better.

The Gits – Enter: The Conquering Chicken

The Gits – Enter: The Conquering Chicken (Broken Rekids)

As it did with Frenching the Bully earlier this year, Broken Rekids has reissued The Gits’ Enter: The Conquering Chicken in newly mixed and remastered format, expanded with live tracks and featuring new cover art. The entire reissue project is important, because it brings both the band’s music and Mia Zapata’s vibrant, strident, and unguardedly passionate vocals to a much wider audience. But at the same time, isn’t it just so goddamn sad? The reissue’s additional live material proves beyond any revisionist harping that The Gits were a great band. They roar through the tense, nervy “Seaweed”, punch up the punk template of “Bob (Cousin O.)” with gritty, brooding guitar solos, and fuse hardcore’s lockstep aggression with Zapata’s furious lyrical soul on “New Fast One.” As for Conquering Chicken itself, even the somewhat muddy signature of its original C/Z release couldn’t dilute its power, so it’s not surprising that the record shines anew in the glow of John Golden’s remastering. A straight, bluesy cover of Sam Cooke’s “A Change is Gonna Come” lets Zapata exist as a traditional vocalist would. Her style still bristles with barbs of emotion, but since she’s not required to bellow the words, they simmer instead of boil. (She finds a way to do both during “Precious Blood,” the following track.) Fleshed out with a few previously unavailable studio tracks and the live stuff, this new version finishes tidily what The Gits started with Frenching the Bully. But it’s also the defining statement of Mia Zapata’s legacy, both as an immensely talented frontwoman and a sad, angry, and beautiful inspiration. She was never fake, and The Gits were never boring. Life (and rock and roll) doesn’t have to be, either.

JTL

Read the Glorious Noise review of Frenching the Bully too.