TAPSheet: Release Notes – 03/01/2013 (US Report)

Columbia Records have The Clash Hit Back featuring The Clash coming in June.  The label also has a Sandanista! 2013 remaster coming in June (UK scheduled for June 10).

PIAS America will release In Concert featuring Dead Can Dance, on April 16.

Virgin Records will release a 2CD, and 3CD package set featuring Simple Minds in Celebrate:  Greatest Hits.  These sets are planned for April 16.

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Virgin Records have a 40th Anniversary package of Aladdin Sane, with the David Bowie classic expected on April 16.

Carribbean Dreams: An Instrumental Tropical Paradise from David Arkenstone has a release date of April 23.

Fair Trade Records will issue Life Is Beautiful from The Afters, scheduled for April 16.

AftersLifeIsBeautiful

Frontiers Records have two Electric Light Orchestra albums set for release on April 23, Live, and Zoom.  The label will also release Armchair Theatre from Jeff Lynne on the same date.

Capitol Records Nashville will issue Sinners Like Me from Eric Church on April 16.

Legacy Recordings will release a Deluxe Edition of Above (1994) from side project band, Mad Season.  The set will feature 2CDs and a DVD.  The CDs contain original tracks, an unreleased acoustic track, three “new” songs from the band’s unfinished second album, a remixed version of “I Don’t Wanna Be A Soldier”,  and a full concert from 2005 (Seattle).  The DVD will feature Live At The Moore, the band’s last concert, a complete New Year’s Eve show (1995), and several other goodies including a documentary.  The set is on the calendar for April 2.

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Frontiers will also release Made In Japan by Whitesnake, on both DVD, and BD, releasing on April 23.

Razor & Tie Records will release Play Me Backwards from Joan Baez, scheduling the album for April 16.

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Artists Intelligence, LLC have the self-titled release from Junip on the calendar for April 23 in both CD and LP formats.  The label also have Shaking The Habitual coming on April 9 from The Knife, in CD sets, and vinyl LP.

Blind Melon/Sippin’ Time Sessions EP from Blind Melon is on the calendar for April 16.

Bridge 9 Records will release Which Way The Wind Blows by Octaves in both CD and LP formats, both on April 16.

Legacy Recordings will issue a 2Fer from ’70s band, Dust (Richie Wise/Kenny Aaronson/Marc Bell (Marky Ramone)).  The set will feature Dust (1971), and Hard Attack (1972), both remastered from original analog tapes.  This single CD set is scheduled for April 16.

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Aha Shake Heartbreak, the 2004 (UK)/2005 (US) album from Kings of Leon, will see release as a vinyl LP set scheduled for April 16 via RCA Records.  Also coming in LP form are Because of The Times (2007), Rarely, and Youth and Young Manhood (2003).

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Spinefarm US plan the release of The Singles Collection, 1979-2012 for Killing Joke, in 2CD standard, and a 3CD Deluxe Edition, both planned for April 16.

Island Records will release a 2CD Deluxe Edition of Kaya (1978) from Bob Marley & The Wailers, scheduled for April 23.  The label will also reissue the album on vinyl LP, same date.

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Interscope Records will release Tape Deck Heart from Frank Turner on April 23 in both standard CD, LP, and a 2CD Deluxe Edition.

Interscope also plans Mosquito from Yeah Yeah Yeahs in CD, LP, and 2CD Deluxe Edition, both on April 16.

Poll: What May Have Become of…?

FacesI’ve always had something stuck in my craw concerning Faces, the UK band that sprung from Small Faces (Steve Marriott, Ronnie Lane, Ian McLagan, Kenney Jones), establishing and shortening the name.  That ‘new’ band subtracted Steve Marriott (who went on to form Humble Pie, God bless ‘im), and added Ron Wood, and Rod Stewart (from Jeff Beck Group).

Faces went the extra mile.  Their four LPs are milestones in Rock music.  With just the ascension of their third LP, A Nod Is As Good As A Wink…To A Blind Horse (1971), they hit jackpot with the amazing “Stay With Me” track, a song that soared to Top10 single height on many surveys throughout the world.  While the band couldn’t match that feat with their last LP, Ooh La La, that 1973 album is home to the well-remembered title track (if you have never heard it, take a few minutes to listen to it on Spotify, or YouTube.  Go ahead, I’ll wait!).  Note:  Collectors should know that there is a Ronnie Lane version out there somewhere that is pretty damn good.  Remember, it was Ronnie Wood who originally (and amazingly) sang the track.  And, of course,  Rod Stewart eventually felt a need to record his own version of it (When We Were The New Boys – 1998), ironic since he spurned the vocal offering back when it was needed for the album.

By Ooh LA La, the band was splintering apart internally.  Rod Stewart, who was coming into his own as a solo recording artist, found little time to provide Faces.  Worse, promoters were headlining Faces as Rod Stewart and Faces (NASTY!!)  Not long after the album’s release, Lane quit (due to Stewart being an abominable ass).  Lane was replaced by veteran bassist, Tetsu Yamauchi, but not long after that, the band was no more.

Ron Wood would go on to join The Rolling Stones, obviously a defining moment for him (and where his guitar potential sadly diminished).  Kenney Jones would become the new drummer for The Who, replacing Keith Moon after his untimely and unfortunate death.  Ronnie Lane would record solo and the occasional collaborative effort until his affliction, and ultimate death of Multiple Sclerosis in 1997).  Ian McLagan would go on to produce solo gems (like Troublemaker – 1979) and collaborate with a number of bands.

That was the definite end of one of the world’s potentially great Rock bands.  I say potential because we were never able to see Faces scoot into the upper echelon of Rock bands.  While it is now left to a guessing game, a series of opinions that count for little, I always felt that Faces could have gone on to achieve greater fame then they had received by the end of their road.  Of course, they are well-remembered.  They also left behind an influential legacy fully admitted to by many bands.  But…

Where might they have gone had they not been torn apart.  While I do admit to animosity toward Rod Stewart for his large role in tearing the soul of Faces away from its productive body, I don’t fault him taking the road he did.  It led to great personal fame and riches.  I just wish there was better closure.

The entire point of this possibly boring story (thanks for hanging with me if you’re this far down) is this.  I wonder just how far Faces could have gone if they were given the opportunity to continue on.  Could they have reached Stones/Led Zep-like status in time?  Or had they already depleted themselves by Ooh La La?

Personally, I believe their greatness was yet to come.  And in thinking this of Faces, I wonder how many other bands, who were torn apart by internal conflict and shifting allegiances, might have gone on to greater things?  Where might an Ozzy-fronted Black Sabbath have moved up to?  What gems might they have produced?  There are so, so many others.

Let’s hear your opinions on Faces, or any other band that springs to mind that were stunted by the same issues described earlier.

TAPSheet: Release Notes – 02/25/2013 (US Report)

Island Records plan the release of Such Hot Blood from The Airborne Toxic Event in CD, and Deluxe Edition packages on April 16.

Vagrant Records will release Specter At The Feast from Black Rebel Motorcycle Club on March 19.

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J&R Adventures plan the release of An Acoustic Evening at The Vienna Opera House featuring Joe Bonnamassa, on 2CD, 2DVD, and Blu-ray, all three expected on March 26.

Concord Records have an album featuring  Booker T & Friends on the calendar (title undetermined as of this time) for June 11.

UMe plan The KCRW Session featuring Jimmy Cliff on both CD and LP, for April 16.

Verve Records plan an ‘as yet untitled’ album from Natalie Cole for May 21.

Universal/Motown will reissue Bryter Layter by Nick Drake on vinyl LP in both  standard LP, and a Deluxe LP Box.  The Deluxe Box is available on April 2, while the standard LP reissue is skedded for May 7.

Island Records plan Save Rock and Roll (LP, CD) by Fall Out Boy, on April 16.

Motown Select have 50th Anniversary:  The Singles Collection 1964-1972 featuring The Four Tops, released on 3CDs, on April 2.

Eagle Rock Entertainment have an LP reissue of Blueprint by Rory Gallagher planned for April 16.

Universal Motown plan Ballads featuring Marvin Gaye classics for April 9.

UMe will release Maiden England ’88 on 2DVD, 2LP, and 2CD  Iron Maiden sets, and planned for March 26.

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Abkco have two Stones titles coming in April.  The first is Get Yer Ya-Ya’s Out! in an Expanded Edition 3CD/DVD Box, planned for April 2, followed by The Very Best Of The Rolling Stones 1964-1971 (CD), on April 23.

Island Records have a Greatest Hits set from Snow Patrol on the calendar for May14.

Universal plans 13 from Suicidal Tendencies for March 26.

3 Ring Circus – Live At The Palace featuring Sublime is set for May 7 in several versions that include CD/DVD combo, DVD, and a CD set (edited/Explicit).

Audio Fidelity’s Marshall Blonstein Talks Music

MarshallBlonsteinAFCurrently, Marshall Blonstein is owner and visionary of the increasingly important reissue label known as Audio Fidelity. Audio Fidelity began releasing superior quality 24K gold reissues, as well as an industry niche product, the SACD (Super Audio CD). But before Audio Fidelity, Marshall Blonstein forged an impressive career trajectory that started with humble beginnings in the stockroom at Dunhill Records. That soon led to a promotions position which saw him working with The Mamas and The Papas, The Grass Roots, and Ray Charles.

Eventually, as history would demand it, Blonstein teamed up with Lou Adler to launch Ode Records, which soon became home to the immensely important Tapestry album from Carole King (and other albums), as well as the notable Cheech & Chong classics. After Ode had run its course, Marshall became president of Island Records in the late ’70s, where he oversaw the talents of Robert Palmer, Bob Marley and Steve Winwood. Under his watch, Island Records achieved its first Top 10 single with Robert Palmer’s “Bad Case of Loving You.”

After a time, Blonstein started DCC Compact Classics, producing a string of highly collectible reissue titles that are still in demand today. In 2002, he started Audio Fidelity, with the intent to produce time-honored and unbeatable sound classics, much in the same mode as DCC Compact Classics had achieved.

NoSecretsSimon24k.jpegMarshall Blonstein, at the helm of Audio Fidelity, began producing 24K gold reissues, SACDs, and original titles with both formats. Audio Fidelity has consistently produced classic reissue titles that have become important to an audiophile’s library, with high quality remastering of such titles as No Secrets (Carly Simon), Love It to Death (Alice Cooper), Mud Slide Slim (James Taylor), The Soft Parade (The Doors), Machine Head (Deep Purple), as well as Rush, Dio, and Phil Collins titles, amid many, many others. After once having abandoned the SACD because of lowered interest, Audio Fidelity is returning to the format simply because, although a niche market product, SACD refuses to be put to rest. The label returns with a special powerhouse, Close to the Edge, a progressive classic from Yes. They will also re-enter the market with an SACD of Rush’s Counterparts.

Being interested in how Audio Fidelity works and their focus on providing the best sound that can be extracted from decades-old master tapes, I interviewed Marshall Blonstein to gain new insights into where Audio Fidelity is going and what could possibly be next from his historic label. With all of the magic his label has worked, I’m particularly excited for what will come in the future.

Marshall, a few years ago, you gave MusicTAP an in-depth interview that covered not only a complete biographical overview of your long career, but also gave brief looks into the direction of music, especially SACDs, which, at the time, your company, Audio Fidelity was active in releasing. It was well-received. However, since then, changes have occurred, not only in the music industry, but also in your direction of Audio Fidelity. This is why I’m back.

At one time, SACDs seemed to be a highly coveted niche market that had an ability to satisfy the audiophile. However, the market for these seemed to dry up overnight. What happened?

When the CD first made its appearance in 1984, the look was completely different from the LP and the cassette. It was easy to distinguish between the old and the new. The introduction of the SACD didn’t have the benefit of looking uniquely different from a traditional CD. They were literally indistinguishable. Sony initially released SACDs only in the SACD format and, if you didn’t have an SACD player, you couldn’t play them. When the hybrid SACD format was introduced, it was very confusing for the consumer. The idea of hybrid and SACD still gave the impression that you needed a special player to play the SACDs, even though there was a red-book layer that allowed the SACDs to play on any player, as it had an additional red-book layer, along with the SACD layer.

The average consumer was not ready to re-invest their catalog in a new format. They were happy with the CD format as it was. Plus, the retailers never truly got behind the SACD as the retailers did with the introduction of the CD. It seemed like it was the wrong format at the wrong time. You also had companies, such as Warner’s/Rhino dedicated to the DVD format, and did not invest their artists’ catalog in SACDs.

Audio Fidelity released a fair amount of SACD titles. But, like the large labels, AF soon left them behind in favor of the remastered 24K gold disc. The titles that were being released on these 24K gold discs were reissues. What led to the decision to dispense with SACDs and explore the album reissue path?

When we started Audio Fidelity, we were already releasing 180+ vinyl with artists such as Lightnin’ Hopkins and John Lee Hooker. It was very difficult to acquire licenses from the major labels for SACD, because Sony, who introduced the format, was reluctant to license any titles to third parties by any of their major artists. They were holding on to their catalog for their own SACD releases. Warner’s was invested in the DVD-A format and were not about to license artists for SACD that would compete with their DVD-A format. We had always been associated with 24K because of our days at DCC Compact Classics. The requests from audiophiles, distributors, etc. that we were getting to release our titles on 24K far outnumbered the requests we were getting for SACD.

Was it already a path that you were exploring for the label from the beginning, therefore a natural transition?

Yes. I think I answered that above.

Audio Fidelity is much, much more than a stock reissue label. This is borne out in the fact that rather than just putting a currently out-of-print album back into the marketplace, you elect to have them expertly remastered, and beautifully packaged to create a unique expectation for your label. As a result, you have, once again, successfully engineered a highly regarded brand. How did this come about?

YesCloseToTheEdgeSACDA.jpgWe had been a part of the audiophile world for a number of years and, working with audiophiles, we knew that, to be a unique label in the marketplace, we had to raise the stakes by presenting the best sound and re-creating original packaging and choosing artists with the broadest appeal. There always are a number of re-issue labels in the marketplace, but we never felt that we were competing with them as they had a different philosophy from ours.

Our philosophy centered on sound, not price, We chose to be the company with the highest sound, not the least expensive in the market. We also ensured our uniqueness with our packaging and our see-through slipcase that highlights the gold disc. We feel that our 24K gold disc with its see-through slipcase makes it easy to distinguish an Audio Fidelity disc from all others. We took great pride in being able to re-create the Braille on the Stevie Wonder Talking Book, the original gold foil used for Grand Funk’s We’re an American Band and Kate Bush’s Hounds of Love where we re-created the multi-colored vinyl. That little extra care to the packaging does make a difference to the audiophile and the discriminating consumer, as well as members of the groups’ fan clubs.

What decisions go into finding and selecting albums for re-mastering and reissue?

To license a title from the major label, it almost has to be the “perfect storm.” We select our titles on many occasions by requests that we get from consumers, which has always been the biggest source of suggestions for new titles. We also work with a group of distributors and retailers that have their ears to the ground and pass along suggestions to us. Once we do our research on the title, making sure that it has not been re-mastered recently, we then look at the viability for sales in the market. A lot of time, effort and resources go in to one of our releases so we want to ensure that there is not only great sound but there is a profit to the company.

Then, we submit the title to the label. We then go through the processes of getting clearances from the label who work with their business affairs to see if there are any restrictions. In most cases, they check with the artist’s management for their approval as well. Some of our requests are rejected because the label itself is planning on a re-issue or the artist rejects the request for their own reasons.

Are you the sole decider of any given project or do you have a team that you sit with and brainstorm possible releases?

As mentioned above, there are a number of people that have input into what is released. But I do have the final approval.

Once a title is decided upon, what are the processes that must be followed to gain access to the masters in order to create the finished product that ends up in players?

We always check with the tape vaults to make sure that the source we want to use is available. Many of the masters have been lost or transferred to digital through the years and are compressed and full of EQ — not for us.

Much of your catalog titles have been remastered by Steve Hoffman. On occasion, you have used Kevin Gray. What draws you to these individuals rather than a team of engineers, or other name mastering greats?

Trust and familiarity. We have worked with Steve and Kevin for over 25 years. We know each other very well. I trust their tastes and we are all on the same page when it comes to demanding the best sound quality. Additionally, they are not just “anonymous” engineers; rather they are the best in the business, well known with great reputations and great ears.

Do you ever have titles that you request and are turned down for?

We are turned down more than I would like. We have been asking for AC/DC for over 15 years, but we are not giving up. Yes, we are turned down, but continue requesting for that one day when we get approval.

I can imagine that some bands keep tight fists over their catalog and therefore prevent timely remastering and release. Do you have coveted titles that you’d like to release in 24K gold CD but have had difficulties in acquiring rights?

Absolutely. There are a number of titles that I would love to work with. Hopefully, one day we will get them. As mentioned above, AC/DC is one of those artists.

Recently, you have returned to the market of SACDs. Your debut return include the highly coveted SACD issue ofClose to the Edge by Yes and Counterparts by Rush. What led not only to the decision to return to SACD but to the choice of these specific titles?

The cost of gold, as you know, has gone up dramatically over the past few years. Even though the plant that makes 24K has raised the cost to us, we have not raised our price to the consumer. Keep in mind that there is only one plant that makes 24K, so we are at their mercy regarding production. The availability of gold is now becoming harder to get for 24K discs and our releases have been more inconsistent because of that. So cost and availability are two factors that led us back to SACDs. We have also always had requests that we re-enter the SACD market, which we have done. Close to the Edge andCounterparts are two titles that we wanted to kick off our re-entry into the SACD market — two great artists and two great opportunities to show off how we can improve the sound that is currently available.

Will we be seeing more SACDs coming from Audio Fidelity?

Absolutely, you will be seeing more SACDs. We will actually be doing the majority of our upcoming releases in SACD.

Do you have a few currently on the back burner, simmering until the release of the first set is completed?

Our next two SACD titles will be Harry Belafonte’s Calypso and Nat “King” Cole’s Welcome to The Club. How is that for the return to SACD?

Let me say, and I know that I speak for many, the arrival in SACD format of Close to the Edge is highly anticipated. In fact, for me, it already is THE release of the year that is not likely to be topped. Let me take this opportunity to personally thank you for the decision to release this wonderful title on SACD. It’s a holy grail for me. How excited are you about these two titles?

I am very excited about both of these titles, but when I hear someone say “THE” release of the year, I get even more excited.

Thanks, Marshall, for not only Audio Fidelity, but also for providing us with a chance to upgrade some titles with superior versions on CD and, once again, SACD.

Hey Matt, thank you.

AudioFidelity

Alabama Shakes IS The Real Thing

AlabamaShakesI don’t fall in love with bands very easily.  In fact, it sometimes takes quite a bit of interest to get one to sink in.  Now, let me tell you something.  I’ve fallen in love again.  Pretty hard this time.

You are all aware how much I adore Heartless Bastards.  I still do.  But feeding my  usual Saturday Night Live addiction (don’t ask me why), I heard the featured band, Alabama Shakes.  I think I have found a love that can run much deeper than Heartless Bastards.

Now, I hear a lot of music, but while I’ve heard OF THEM, I’ve never HEARD them until recently.  And I’m saying to you now, if you like your blues hot and heavy, full of growl and spit, then Alabama Shakes is your band.

Fronting Alabama Shakes is amazing vocalist, Brittany Howard (who also plays a good guitar).  She is most certainly the focal point.  There’s a stated comparision to Janis Joplin, and I have to say, Brittany is full of fire with shades of Janis in her vocal delivery.

Trust me on this, Alabama Shakes is a great band that I’m not going to forget in a long, long time.  In fact, I can’t get to a record store FAST enough.  (When was the last time you could say that?!)

If I don’t write another thing for the rest of the month, I would have done my job with today’s post.  “Bless My Heart, and bless yours too…”

TAPSheet: Release Notes – 02/18/2012 (US Report)

Warner Brothers will issue The Flaming LipsThe Terror in both CD and 2LP formats on April 2.  The album is the band’s thirteenth studio effort.

Megaforce Records have Anthems from Anthrax on the board for release on March 19.

7Brothers Records will release Black Out The Sun from Sevendust on March 26.

Nonesuch Records will release Nomad from Bombino in both CD and LP formats on April 2.

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Venomous Rat Regeneration Vendor from Rob Zombie is scheduled April 23 via T-Boy Records.

Second Coming from Stryper will feature re-recorded Stryper tracks.  The new album is expected on March 26.

Good news for fans of Lycia.  The band’s ground-breaking Cold album is being reissued on vinyl LP, with a spring date (hopefully in April).

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Spitfire from LeAnn Rimes is planned for April 30 via Curb Records.

RCA Records have Girl Who Got Away, the latest album from Dido, on the calendar for March 26.  CD, Deluxe Edition.

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Rounder Records have Love Has Come For You from Steve Martin and Edie Brickell coming on April 23. CD, LP.

The 10th Anniversary Edition of Give Up from Sub Pop artists, The Postal Service is expected on April 9.  The 2CD set will feature the original album, fifteen bonus tracks and two brand new cuts.

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Cherry Red Records have State from Todd Rundgren on the slate for April 9.

The End Records will release a Petula Clark album called Lost In You, on April 2.  This latest album will feature new songs and covers including a new version of “Downtown”.

Radiation 13 from Marillion is expected on March 26.

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Epitaph Records will issue My Shame Is True from Alkaline Trio on April 2.

Friday Music will release a vinyl LP version of Going For The One by Yes on March 19.

Cherry Red will release She Paints Words In Red from House of Love on April 9.

And finally, Cat King Cole Records will release a collected set of early, very early Ronnie Dio as he fronted Ronnie Dio and The Prophets.  The set, The Early Years, features 28 tracks, and will release on March 12.

Release Pieces: Skydog: The Duane Allman Retrospective Box

SkydogDuaneAllman.jpgDuane Allman left this life at the young age of 24 due to an unfortunate motorcycle accident. But before his untimely death, Allman had already put into place an enviable legacy that included not only his involvement with many great artists like Eric Clapton and Wilson Pickett, but also starting one of the world’s most memorable rock bands, The Allman Brothers Band.

Duane Allman would also gain momentum as being one of the great guitar players ever to sling a strap over his shoulders. Few will debate that assessment. His slide guitar helped to define what the Allman Brothers Band became. After some 40 years, the old adage holds true — rock and roll never forgets.

On March 12, Rounder Records will release an immaculately conceived seven-disc box reviewing the short but extraordinary career of Duane Allman, affectionately known to his close group as Skydog. That nickname is what makes up the whole of Skydog: The Duane Allman Retrospective.

This massive set will shine lights on many aspects of Duane Allman multi-facted career including many recorded works prior to The Allman Brothers Band. Included are rare tracks performed with Aretha Franklin, Wilson Pickett, Boz Scaggs, Ronnie Hawkins and Derek and The Dominoes (although this short list is woefully unable to speak the full scope of Skydog). There are also many tracks here that established his legacy to early Allman Brothers: The Allman Joys, The Bleus, and The Escorts are parts to the whole.

Skydog: The Duane Allman Retrospective will stand as a tribute to one of the most influential guitarist in the history of rock music. Fans of Duane Allman will, no doubt, be enraptured by this collection of rare and important pieces of brilliance.

Thank you, Rounder Records!

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TRACK LIST

Disc One

  1            THE ESCORTS  Turn On Your Love Light  2:33
  2            THE ESCORTS  No Name Instrumental  3:13
  3            THE ESCORTS  What’d I Say  4:04
  4            THE ALLMAN JOYS  Spoonful  2:27
  5            THE ALLMAN JOYS  Gotta Get Away  2:38
  6            THE ALLMAN JOYS  Shapes Of Things  2:47
  7            THE ALLMAN JOYS  Crossroads  3:32
  8            THE ALLMAN JOYS  Mister, You’re A Better Man Than I  4:45
  9            THE ALLMAN JOYS  Lost Woman  5:23
10            HOUR GLASS  Cast Off All My Fears  3:31
11            HOUR GLASS  I’ve Been Trying  2:39
12            HOUR GLASS  Nothing But Tears  2:29
13            HOUR GLASS  Power Of Love  2:51
14            HOUR GLASS  Down In Texas  3:08
15            HOUR GLASS  Norwegian Wood (This Bird Has Flown)  3:01
16            HOUR GLASS  B.B. King Medley 7:07
17            HOUR GLASS  Been Gone Too Long  3:03
18            HOUR GLASS  Ain’t No Good To Cry  3:08
19            31ST OF FEBRUARY  Morning Dew  3:46
20            31ST OF FEBRUARY  Melissa  3:12
21            THE BLEUS  Milk And Honey  2:34
22            THE BLEUS  Leavin’ Lisa  2:43
23            THE BLEUS  Julianna’s Gone  2:59
Disc Two
  1            CLARENCE CARTER  The Road Of Love  2:54
  2            CLARENCE CARTER  Light My Fire  2:49
  3            WILSON PICKETT  Hey Jude  4:06
  4            WILSON PICKETT  Toe Hold  2:49
  5            WILSON PICKETT  My Own Style Of Loving  2:41
  6            WILSON PICKETT  Born to Be Wild  2:45
  7            LAURA LEE  It’s How You Make It Good  2:32
  8            LAURA LEE  It Ain’t What You Do (But How You Do It)  2:05
  9            SPENCER WIGGINS  I Never Loved A Woman (The Way I Love You)  3:01
10            ARTHUR CONLEY  Ob-La-Di, Ob-La-Da  3:00
11            ARTHUR CONLEY  Stuff You Gotta Watch  2:15
12            ARTHUR CONLEY  Speak Her Name  2:39
13            ARTHUR CONLEY  That Can’t Be My Baby  2:22
14            WILLIE WALKER  A Lucky Loser  2:20
15            THE LOVELLES  I’m Coming Today  2:59
16            THE LOVELLES  Pretending Dear  2:38
17            ARETHA FRANKLIN  The Weight  2:53
18            ARETHA FRANKLIN  It Ain’t Fair  3:22
19            SOUL SURVIVORS  Darkness  2:56
20            SOUL SURVIVORS  Tell Daddy  2:30
21            SOUL SURVIVORS  Got Down On Saturday  3:10
22            KING CURTIS  Hey Joe  2:56
23            KING CURTIS  Foot Pattin’  4:49
24            KING CURTIS  Games People Play  2:46
25            KING CURTIS  The Weight  2:47
26            THE SWEET INSPIRATIONS  Get A Little Order  2:06
Disc Three
  1            THE BARRY GOLDBERG BLUES BAND  Twice A Man  4:26
  2            DUANE ALLMAN  Goin’ Down Slow  8:44
  3            DUANE ALLMAN  No Money Down  3:25
  4            DUANE ALLMAN  Happily Married Man  2:40
  5            OTIS RUSH  Me  2:55
  6            OTIS RUSH  Reap What You Sow  4:53
  7            OTIS RUSH  It Takes Time  3:25
  8            THE DUCK & THE BEAR  Going Up The Country  2:34
  9            THE DUCK & THE BEAR  Hand Jive  2:41
10            BOZ SCAGGS  Finding Her  4:10
11            BOZ SCAGGS  Look What I Got  4:13
12            BOZ SCAGGS  Waiting For A Train  2:41
13            BOZ SCAGGS  Loan Me A Dime  13:01
14            THE ALLMAN BROTHERS BAND  Don’t Want You No More  2:26
15            THE ALLMAN BROTHERS BAND  It’s Not My Cross To Bear  5:01
16            THE ALLMAN BROTHERS BAND  Black Hearted Woman  5:07
17            THE ALLMAN BROTHERS BAND  Trouble No More  3:45
Disc Four
  1            THE ALLMAN BROTHERS BAND  Every Hungry Woman  4:13
  2            THE ALLMAN BROTHERS BAND  Dreams  7:16
  3            THE ALLMAN BROTHERS BAND  Whipping Post  5:16
  4            RONNIE HAWKINS  One More Night  2:22
  5            RONNIE HAWKINS  Will The Circle Be Unbroken  2:50
  6            RONNIE HAWKINS  Matchbox  3:05
  7            RONNIE HAWKINS  Down In The Alley  5:08
  8            RONNIE HAWKINS  Who Do You Love  2:13
  9            LULU  Marley Purt Drive  3:21
10            LULU  Dirty Old Man  2:20
11            LULU  Mr. Bojangles  3:08
12            LULU  Sweep Around Your Own Back Door  2:40
13            JOHNNY JENKINS  I Walk On Gilded Splinters  5:16
14            JOHNNY JENKINS  Rollin’ Stone  4:56
15            JOHNNY JENKINS  Down Along The Cove  3:02
16            JOHNNY JENKINS  Voodoo In You  4:50
17            JOHN HAMMOND  Shake For Me  2:42
18            JOHN HAMMOND  Cryin’ For My Baby  2:39
19            JOHN HAMMOND  I’m Leavin’ You  3:20
20            JOHN HAMMOND  You’ll Be Mine  2:42
21            DORIS DUKE  Ghost Of Myself  3:06
Disc Five
  1    ERIC QUINCY TATE  Comin’ Down (demo version)  2:52
  2            THE ALLMAN BROTHERS BAND  Hoochie Coochie Man (live)  5:00
  3            THE ALLMAN BROTHERS BAND  Midnight Rider  2:58
  4            THE ALLMAN BROTHERS BAND  Dimples (live)  4:59
  5            THE ALLMAN BROTHERS BAND  I’m Gonna Move To The Outskirts Of Town (live)  9:21
  6            DELANEY & BONNIE & FRIENDS  Soul Shake  3:06
  7            LAURA NYRO  Beads Of Sweat  4:47
  8            THE ALLMAN BROTHERS BAND  Don’t Keep Me Wonderin’  3:28
  9            DELANEY & BONNIE & FRIENDS  Living On The Open Road  3:03
10            ELLA BROWN  A Woman Left Lonely  3:23
11            ELLA BROWN  Touch Me  2:59
12            BOBBY LANCE  More Than Enough Rain  5:51
13            DEREK & THE DOMINOS  I Am Yours  3:34
14            DEREK & THE DOMINOS  Why Does Love Got To Be So Sad?  4:41
15            DEREK & THE DOMINOS  Have You Ever Loved A Woman  6:52
16            DEREK & THE DOMINOS  Layla  7:03
17            ERIC CLAPTON & DUANE ALLMAN  Mean Old World  3:48
 
Disc Six
  1            SAM SAMUDIO  Me And Bobby McGee  3:31
  2            SAM SAMUDIO  Relativity  3:14
  3            SAM SAMUDIO  Goin’ Upstairs  5:06
  4            RONNIE HAWKINS  Don’t Tell Me Your Troubles  2:13
  5            RONNIE HAWKINS  Sick And Tired  2:45
  6            RONNIE HAWKINS  Odessa  3:19
  7            DELANEY & BONNIE & FRIENDS  Gift Of Love  2:09
  8            DELANEY & BONNIE & FRIENDS  Sing My Way Home  4:02
  9            THE ALLMAN BROTHERS BAND  Statesboro Blues (live)  4:17
10            THE ALLMAN BROTHERS BAND  In Memory Of Elizabeth Reed (live)  13:04
11            GRATEFUL DEAD  Sugar Magnolia (live)  7:20
12            THE ALLMAN BROTHERS BAND  One Way Out (live)  4:57
13            HERBIE MANN  Push Push  10:03
14            HERBIE MANN  Spirit In The Dark  7:59
15            HERBIE MANN  What’d I Say  4:57
Disc Seven
  1            DELANEY & BONNIE & FRIENDS  Come On In My Kitchen (live)  3:42
  2            DELANEY & BONNIE & FRIENDS  Going Down The Road Feeling Bad (live)  4:03
  3            DELANEY & BONNIE & FRIENDS  Poor Elijah / Tribute To Johnson (Medley) (live)  4:54
  4            THE ALLMAN BROTHERS BAND  You Don’t Love Me / Soul Serenade (live)  19:25
  5            COWBOY  Please Be With Me  3:41
  6            THE ALLMAN BROTHERS BAND  Stand Back  3:24
  7            THE ALLMAN BROTHERS BAND  Blue Sky  5:09
  8            THE ALLMAN BROTHERS BAND  Blue Sky (live)  11:24
  9            THE ALLMAN BROTHERS BAND  Dreams (live)  17:56
10            THE ALLMAN BROTHERS BAND  Little Martha  2:07

Lack of Posts

Sorry for the extreme lack of posts.  I’m fighting a cold, which (colds) are rare for me.  I get home from work and hit the sack quick-like.  However, I’m hoping that this weekend (with so much to do) will find the cold peaking.

I will have something up for Monday!

Review: Tenderotics – Black Tape For A Blue Girl

BTFABGTenderoticsSam Rosenthal began his label, Projekt Records, as a vehicle to distribute the music from his band, Black Tape For A Blue Girl. To date, Black Tape For a Blue Girl has released ten studio albums over a period of 23 years. Their last, 10 Neurotics (2009), expressed Rosenthal’s growing interest in dark cabaret. However, since 10 Neurotics, Black Tape For A Blue Girl has been quiet.

The music of BTFaBG (Black Tape For A Blue Girl)deeply reflects the evolutionary musical mind of Rosenthal, who assembles a new band when his need to express becomes necessary. On this occasion, Sam Rosenthal farms out most of the unique songs from 10 Neurotics, with remixing in mind, to recreate the nuances of some of those tunes.

Tenderotics begins with an Erik Wollo remixed treatment of “The Perfect Pervert”, providing it with an electronica dance vibe. But that doesn’t carry over to the others. With remixes and recreations by eclectic talents like Steve Roach, Android Lust, Attrition, Steve Jones, and even Sam Rosenthal himself, Tenderotics cosmetically nips and tuck with experimental surgery surprising every time with a uniquely expressive rework. Erik Wollo is chosen to end the album with his dark ethereal mix of “Halo Star (2013)”.

The hallmark of Black Tape For a Blue Girl album releases have always been the poetic expression of dark human emotion encased in the music interests of Sam Rosenthal at the time of composition. Tenderotics is an album that has the creator of 10 Neurotics entrusting his personal songs to others. And it is safe to say that the others have not defiled the songs, but have instead given them new blood with which to exist within a different sphere of life.

Yes, there are many pages in Tenderotics. And within those pages you’ll find new stories. The words are the same, but the pulse has quickened, and the varied sounds somehow change the mood.

Release Date: February 12, 2013
Website

–Matt Rowe

Poll: Which Album Is Best? – Lou Reed

LouReedLou Reed doesn’t enjoy a large fan-base.  But what he has is worldwide, and ROCK SOLID.  After a legendary career, with beginnings rooted in The Velvet Underground, and a great (and greatly varied) solo outing that includes the ambiguous double LP, Metal Machine Music, Lou has done what few performers in his bracket can do.  And he’s come out alive.

Recently, he joined forces with Metallica that resulted not only in confused fans from both sides, but also an unusual album (Lulu), that is, at heart, a typical late-edition Lou Reed album backed by an unlikely source.  Its reception was mixed, and is still a bit of a controversy among fans of both side although Lou Reed fans are much more likely to embrace it than otherwise.

But what of his previous works?  Lou Reed has created such a wide body of albums, every one as strange and as distant from its predecessor and what came after.

From the difficult to acquire (physically) RCA self-titled debut, to the critically enjoyed followup, Transformer, to the brilliant and unsung Berlin, and the  remainder of the first-era RCA issues (including the troubled Metal Machine Music), Lou Reed has entertained.  Whether or not you stayed with him throughout tells a tale as much about you as it does the mind of Lou Reed.

Lou followed with a fairly impressive Arista collection of albums including the critically acclaimed Street Hassle.  Eventually, Lou Reed would land back in the stable of RCA Records, moving on to Sire Records for the safe to say what seems a conclusion of Lou Reed albums (other than 2011’s Lulu collaboration). His unappreciated and indulgent The Raven was released in 2003, ten long years ago.

With such a wide array of Lou Reed albums, many of them solid contenders for best of career assessment, I thought it a good time to inquire of fans which album they appreciated most.  Although I have a distinct feeling that Transformer might run away with it, I kind of hope not as I feel Lou was divergent enough to have more people battle for a favorite.  For this forum, I think it is safe to list a favored selection should you desire to do so.  There’s a lot of years, and a lot of albums to discuss.

What do you think?