He also indicated that there are plans to put out expanded reissues of the band's last two albums, Some Other Sucker's Parade and Can You Do Me Good?
For those of you who already picked up the expanded reissues of Waking Hours, Change Everything and Twisted, you'll know that this is good news. Those reissues were packed with nearly all of the appropriate B-sides from the period...and even as somebody who had personally accumulated all of those B-sides, it was nice to have them collected in one place.
October will bring the release of Into The Mirror, the first official live album from Del Amitri -- you can pre-order signed copies (autographed by Justin and Iain) from the band's website.
Currie launched his U.S. solo tour on Sunday with a show in Nashville that was apparently broadcast on the radio (and I'm looking for a copy -- do you have one?).
Speaking of that, if you'd like to go see that Music Box show tonight --- drop me an email here with "Justin Currie Cleveland Concert" in the subject line for your chance to win. This contest will expire not too long after you read this, so move quickly and good luck!
When I logged into the ATV control panel, it made the Aerosmith sound. I can't tell you exactly what that means, but briefly, it just means that it's been a helluva long while since the last time we spoke.
(Speaking of Aerosmith, I got a chance to interview guitarist Brad Whitford briefly last week....woooooo! The end of that last sentence was 13 year old me high-fiving myself. Check out our conversation right here.)
This year marks the 25th anniversary of the release of the R.E.M. album Green. As fans, we've come to know that each time another album from our favorite Athens export hits this milestone, we can expect a cool expanded release to follow.
Our friends did not disappoint --- May 14th saw the release of an upgraded Green via Rhino, accessorized with a fresh remastering of the original album, plus a bonus disc featuring live performances recorded in Greensboro, North Carolina on November 10th, 1989 during the Green tour. (Looking back, it would have seemed appropriate if R.E.M. would have decided to stage the entire Green tour in Greensboro....but luckily for all of us, they decided to take the show to a bunch of other territories.)
Here's a peep at the track listing for the full set:
Disc One – Original Album
1. “Pop Song 89”
2. “Get Up”
3. “You Are The Everything”
5. “World Leader Pretend”
6. “The Wrong Child”
7. “Orange Crush”
8. “Turn You Inside Out”
10. “I Remember California”
Disc Two – Live In Greensboro 1989
2. “The One I Love”
3. “Turn You Inside Out”
5. “Exhuming McCarthy”
6. “Good Advices”
7. “Orange Crush”
9. “These Days”
10. “World Leader Pretend”
11. “I Believe”
12. “Get Up”
13. “Life And How To Live It”
14. “Its The End Of The World As We Know It (And I Feel Fine)”
15. “Pop Song 89”
16. “Fall On Me”
17. “You Are The Everything”
18. “Begin The Begin”
20. “Finest Worksong”
21. “Perfect Circle”
On that same date, Rhino also released the newly remastered Green on 180 gram vinyl for all of the black wax lovers to enjoy in analog. Since this is Addicted to Vinyl, we've got a copy of that platter (read: vinyl edition) to give away to one lucky ATV reader.
Sweetening the deal, we'll also throw in a vintage R.E.M. tour program from that 1989 trek in support of Green. Having seen this piece of memorabilia in person, let me assure you that it's awesome. (Oh alright --- we'll show you a picture at the end of this post...)
We'll make it relatively simple for you to win this: just send us an email with "R.E.M. Green Contest Giveaway" in the subject line and in the email, tell us in a few words why you deserve to win this vinyl. We'll select one lucky entrant to receive this great prize package.
There have been a number of reflections regarding Green as it hits the 25 year mark. At the time that the album came out, I was 13 years old and R.E.M. was one of those bands that each time that there was new music to be had, I was definitely interested to hear it. I think that a lot of people have conflicted feelings about the band and where they went when they made the transition from the I.R.S. years to their Warner Brothers output. I don't see a lot of division between the two periods, although clearly there are some separating factors.
What sticks out to me about R.E.M. from their earliest recordings to their present state of inactivity is that they were a band that was always pushing the envelope with every bit of new music that they would release. They were and are a group of individuals who have consistently marched to the beat of their own drum and they were never afraid to go against the grain when it came to following the path of what they were supposed to do as a band. Particularly in the later years when they would release a new album, that obligatory world tour that was supposed to follow a new release would often never come to pass.
Sometimes the lack of tour meant that they were already back in the studio working on new music and sometimes, no tour just meant no tour. Whatever the reasoning was, I always had a great deal of respect that they didn't just take the check to go out and do something they didn't want to do.
It would be many years before I would meet the woman who was 200 times more of an R.E.M. fan than I was, as evidenced by her "Driver 8"-themed license plate but when I did, I eventually married her --- although it wasn't just because she was a huge R.E.M. fan. Because you can't have a successful marriage that's built around R.E.M. and nothing but R.E.M., can you?
Anyway --- she wrote a nice reflection about the Green album which you can read here.
Some more reading regarding Green can be found over at Popdose courtesy of George Howard.
Three albums out of quite a few which have been part of the percolating music mix in my world lately...and I just had to stop by and saw a few words.
First up - the Chickenfoot album...don't be confused by the 'Chickenfoot III' title - they're simply so advanced that they skipped ahead title-wise for their second album together, which continues the nice forward momentum that they established collectively with album #1.
I had the chance to spend 15 minutes talking to Michael Anthony (be still, my super-inner Van Halen geek!) about the 'Foot and you can read the results of our chat here.
Wilco. Album is called 'The Whole Love' and there's a whole lot to love about it, no matter what era of Wilco you're a fan of. There's some YHF kinda stuff, some 'Sky Blue Sky' type stuff....'Being There?' Maybe that's a stretch. Still, I found it to be a rather pleasant listen and it's already made more impact with me musically than the previous album did.
Related: Vinyl hounds reading this right now, you can surf over to Pop Market to get the new Wilco album plus 'A.M.' and 'Being There,' all on high quality vinyl at a special price for all three. Each album comes with a CD version of the album for on-the-go listening. You've got about 15 hours to pull the trigger!
Nirvana. Of course, you're probably aware that the super-hella-deluxe version of 'Nevermind' came out today in celebration of the album's 20th anniversary. With all of the songs that I've played/heard at various radio stations over the past 15 years, I'll admit that it's been quite a while since I've tracked through the entire album.
Today, I sat through all four CDs of the new 'Nevermind' set and my reaction: wow, that's a lot of Nirvana for anybody to sit through in one sitting...no matter how much of a fan you are! (But don't get me wrong, it's a very cool set.) I did see parts of the included concert film over the weekend on VH-1 and in my opinion, THAT might be worth the price of the set alone....for my money, I like the performance/feel better than the previously released 'Live at Reading' DVD.
Just some random musical thoughts....what are yours?
(Oh yeah, Pink Floyd 'Dark Side of the Moon' reissue = awesome. Need to get my hands on the ultra-deluxe set of that!)
I had the pleasure of running a brief radio interview tour last week with Billy Squier. During the course of the morning's slate of interviews, the interview that my friend Mark Zander (host of the syndicated rock radio program The Rockin' 80's) did with Billy stuck out as one of the really good ones. I asked Mark if I could use part of his interview here and he happily agreed, so I'm pleased to share with you the following discussion regarding the new Shout Factory! 30th anniversary reissue of Don't Say No.
Spring of 1981, finishing freshman year in high school. Girls on the radar, big time. Then all of the sudden, two of the biggest albums to shape my rock n' roll life came out in the same month of April?? No way!
Along with Van Halen's Fair Warning, Billy Squier's Don't Say No is a hard rock soundtrack to a life lived by me in that very important year of growth and change. Lead off unassumingly by "In The Dark," the record tracks (even today!) right through to the finish as a carefree time capsule of rock fashion and attitude. It was my pleasure to talk with Billy about his (ours!) masterpiece...
I have to ask you this regarding the process heading into Don't Say No when you were recording it, which came after Tale of the Tape was released the previous year in 1980. After spending time with Piper in the '70s, Tale of the Tape was no doubt a respectable solo debut, but I'd say that it probably didn't make the impact that you were looking for initially. Once Don't Say No was written, recorded, released and it became a smash, can you honestly say you were ready and were you expecting it?
Actually I think I was pretty well prepared. Going back to Tale of the Tape for a second, I actually was quite happy with Tale of the Tape. It moved me up a notch on the ladder and it got a lot of airplay. "You Should Be High, Love" was the number one top requested song for almost two months in the country on rock radio. It really increased industry awareness a lot. I had a real good tour in support of that record with Alice Cooper. So I felt when I went to do Don't Say No that Tale of the Tape had really positioned me very well for what I was going to do next, if I could deliver - but I really felt good. That was my initial solo album and I felt real good about where I was after that.
So I went into Don't Say No with a lot of confidence and I did feel that it was in a sense, my time. It was my time if I chose to seize it. You know, that I did have people paying attention, that people would be looking for my next record to some degree and that if I delivered, I really had a chance of making a big impact. You know, that being said, what do you do? I decided to more than ever, hone my material and get a body of songs that really hung together [and] not try to do too much. I have a lot of musical influences and I tried to eliminate some of the influences that were on the extremes of the spectrum, so to speak. Try to think about who is Billy Squier - what do you want people to hear of you and where do you really sit in the musical sort of pantheon. I was kind of fine tuning it that way and obviously if you listen to Piper or things like that, there's a lot of times more of a pop influence - you're hearing me go back and forth between my influences.
Don't Say No, although it still has pop sensibilities, I was aligning myself more in the hard rock camp. I said, "that's really who I am." The bands I grew up with that I really liked the most, what do I want to play when I strap on a guitar - I'm playing rock music. I'm not playing Herman's Hermits, I'm playing the Rolling Stones [laughs]. Those factors contributed to how I approached doing the record and I had confidence to go out and do what I felt good about doing. I think there's always a tendency when you're trying to make it and even when you have made it sometimes, you might be aware of what's going on around you and you wonder what you should be doing. If something else is successful, should you be doing that? You're sort of, if not imitating, you're being affected by what's going on around you.
With Don't Say No, I didn't do that. Don't Say No, I really felt like "nope, I'm going to trust myself and I'm going to write the way I want and structure my lyrics the way I want." I'm not going to worry about what else is going on around me. When it was done, before it came out, I felt that this was the record that I had been spending my whole career to this point getting ready to make. I was totally happy with it. I remember saying to people before it came out - I didn't say "if it doesn't sell five million copies," I said "if this record isn't successful, I'm out."
Yeah, because there's nothing more I can do. I'm not making it up - I remember clear as day, this is the best I can do. If this doesn't cut it, I'm gone. Fortunately, I didn't have to do that [laughs].
A lot of people don't know this, but you approached Brian May [of Queen] about producing Don't Say No.
Brian was going to produce Tale of the Tape and then they got drawn out - that was around the time that they were doing The Game and "Flash" and stuff like that. He got a little bogged down and couldn't do it, but he said, "I think you should use Mack, if you can get Mack to do it. I think that Mack would be great for you." Because [Reinhold] Mack was working with Queen as well [as co-producer of The Game]. So although Brian didn't work on the record, he was pretty instrumental in forming that union between Mack and I - Mack was a big part of the success of that record - the sound of that record and the way he put it together, it was definitely important. I could not have done that record without him.
Let's talk about the reissue - there are a couple of live bonus tracks on this 30th anniversary edition that were recorded last year. Were there any initial discussions about going back in the archives to get something that was done around that time, maybe on the initial tour for the album?
We talked about it, but it was my choice to put on the tracks from last year because I felt that to me, I get some artistic prerogative, you know? I felt like that a lot of the stuff that was recorded back then had come out one way or another, either on radio shows or King Biscuit releases, or we had used stuff. I thought that I approached the songs from Don't Say No that I did last year quite a bit differently than I did back then and I thought that it was more interesting. I thought, let me put something on it that's a current reflection of what I did back then. So that was purely a decision that I made and Shout Factory! was magnanimous enough to let me do it.
I really got involved in the process kind of late. They had licensed the album from Capitol and they were going ahead and doing it. They actually contacted me to see if they could get a couple of bonus tracks and that's how I found out about it. When I found out it was Don't Say No, I thought, well this is such an important record to me, I'd like to try to get involved as much as I can. So I sort of jumped in at the end and got the remastering engineer who had done such a great job on the Tale of the Tape remaster. Then I got a friend of mine [former Creem editor Ben Edmonds] who's a great rock writer to do the liner notes, the guy who knows me better than probably anybody. So we were able to at the last minute, put together a pretty good package with those tracks and the liner notes. We got some pictures out of the archives that hadn't been seen before, so that's new. I think as far as reissues go, it's worthwhile. Because by now, everyone should have worn out Don't Say No and you should get a new one. That's a cheap plug [laughs].
What's the story behind “My Kinda Lover?”
Actually when I was writing that one, I was thinking about Tom Jones. Don't ask me why, I have no idea - Tom Jones is not that big of an influence on me, although we certainly would see him on Ed Sullivan and stuff like that. I got the beginning of the song and I don't know why, I had that melody and I was thinking, "God, if Tom Jones did this, it would be like," [imitating Tom Jones singing voice] "You've got me running bay-bay." [laughs] I had this image of him in my head, thinking this would be a great song.
Wow, that really gives it a different spin for me.
But yeah, when I did it, of course I wasn't trying to be Tom Jones, I wasn't trying to do it as a Tom Jones song, but I just remember thinking, "man, this would be great." I remember meeting his manager a couple of years later, I think we were in Tahiti or some place like that, in a bar. I cut this song and he knew who I was and he actually knew the song. At that point unfortunately, Tom had made his foray into country music, so he never did it. That was a strangely Tom Jones influenced track, which you would obviously never hear! [Laughs].
Take that reissue of the J. Geils Band's "Live -- Full House" off your shopping list. Peter Wolf tells The Insider that the group has scotched Rhino Records' plans to put out the two-CD set, which was slated to feature both of the April 21-22, 1972 shows at Detroit's Cinderella Ballroom from which the original 1972 album was culled. Wolf says that the new release "wasn't authorized by us. What we did was pick the best stuff of the two evenings...They were calling it 'Full House,' and we responded by saying, 'Wait a second. First of all, it would be nice if you'd contact us for consideration, artistically. Second of all, it's not 'Full House.' This is not even the original album; it was just from those evenings. To call it 'Full House' is extremely misleading. And to not even ask for our participation and move forward without our participation is just very artistically insulting. So it's been nixed." Neither Wolf nor Rhino would indicate if negotiations are continuing to release the package.
You know what? You're right. Mondays do suck, except when you get some really good news from J. Geils Band and Rhino Handmade.
An expanded reissue of "Live" Full House? Featuring 23 previously unreleased performances? Double disc?
Click here to pre-order your copy now. UPDATE: Arrrrrgh. It looks like this title has been delayed/postponed for the moment. I'll update here with more details when I hear something...
Here's the official trailer:
The legendary live concert is released on DVD and Blu-Ray. The picture of the original record have been restored by restoration specialist and live concert director Dick Carruthers (Led Zeppelin, Paul McCartney, Van Morrison). The audio was mixed by Chuck Ainlay, winner of the 2006 Grammy Award for Best Surround Sound Album (Brothers In Arms - 20th Anniversary edition).
- Once Upon a Time in the West
- Expresso Love
- Romeo & Juliet
- Private Investigations
- Sultans of Swing
- Two Young Lovers
- Tunnel of Love
- Telegraph Road
- Solid Rock
- Going Home - Theme from 'Local Hero'
Bonus (79 min) - Live TV Performances
- Tunnel Of Love [8:53] The Old Grey Whistle Test 29/11/1980
- Sultans of Swing [9:43] The Old Grey Whistle Test 16/05/1978
- Documentary BBC Arena: Dire Straits [58 mins] 22/12/1980
A deluxe edition of the DVD with 2 CDs containing the audio portion can also be purchased.