Category Archives: reissue

Dec 04 2023
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colored vinyl, reissue, vinyl

Nick Lowe • Quality Street [LP]

First released ten years ago as a CD and picture disc LP, NICK LOWE’s Quality Street is one of my favorite Christmas records of the last decade or so. Its subtitle, “A Seasonal Selection for All the Family,” is about right unless there are a bunch of headbangers in your household. But you do get a nice assortment of originals, covers and traditional holiday songs done the way Gentleman Nick likes to roll these days: smooth ’n’ easy, with a taste of wry humor. In 2013 when this was first issued I picked up the picture disc, which was cut at 45 rpm to help with the fidelity, but being such an item (regardless of speed) it suffers from a bit of additional surface noise you wouldn’t typically expect on vinyl. So then I bought the CD – not only was the sound quality better, but it was playable in the car. So that’s been my go-to every Christmas since then. When I read that YepRoc was doing a limited (1,000 copies) run of it on red vinyl, AND that they were adding a 7″ single with two songs that had only been issued as downloads, I jumped on it.

Some of Quality Street’s best songs are Nick’s. “Christmas at the Airport” is a tale of being stranded you-know-where when you’d certainly rather be somewhere else, a bit wistful and melancholy but a sweet lil’ song. “A Dollar Short of Happy,” too, is on the slightly sad side but also a winner. (It was co-written with Ry Cooder.) Covers-wise, the hands-down, stone-cold winner is “I Wish It Could Be Christmas Every Day,” the Roy Wood perennial that may have overstayed its welcome in the UK but here in the States that original single barely troubled the charts. Nick’s version here has nice calypso vibe to it that really is a treat to hear. I love it! (And I love the original, too, and even have some positive feelings for the so-so Cheap Trick live version [with Wood].) What a cool song – I wouldn’t be surprised to hear it in the stores during the holiday season. And I used to create music programs for retail and restaurants so I know what it takes to make the cut. Ol’ saint Nick nailed it. Another goodie here is “North Pole Express,” though there is no writer credit and the publishing is “copyright control” so who knows who wrote it? But it’s a toe-tapper regardless of whose pen it came from, so don’t miss it. The traditional tunes here are somewhat abundant but Nick and his fellow musicians do some interesting arranging so as to lighten the likelihood of burn-out. “Children Go Where I Send Thee,” for instance, is like a rockabilly version of “The 12 Days of Christmas” but nowhere near as haggard!

As for Quality Street’s bonus 45, you’ll thrill to both “Winter Wonderland” and “Let It Snow” as recorded by Nick and Los Straitjackets (who aren’t the band on the main album) in 2020 and available until now only as digital files or streamers. The big-holed 7″ comes in a “generic” company sleeve (but which appears to be created solely for this release) like the early ’60s British sleeves, and is a nice touch. These are peppy takes on seasonal faves that won’t likely make you groan when you put ’em on.

I don’t think you should miss this one. Place your order now and get Quality Street on vinyl before it’s gone, or else you’ll have to make do with non-physical formats that don’t lend themselves to being wrapped and put under the tree as a gift for a loved one – especially if that loved one is yourself. – Marsh Gooch

4/5 (YepRoc YEP 2330, 2013/2023) (available here)

 

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Nov 26 2023
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CD, reissue, vinyl

Klark Kent • Klark Kent [CD, LP]

KLARK KENT has come out of seclusion! With a new kollection of the Policeman’s solo recordings from back in the day, there is now ample evidence to support the opinion that Stewart Copeland was, indeed, the one with all the talent. Available as a 2LP vinyl or 2CD kompact disc release (downloads are also available), Klark Kent is the kleverly-titled kompilation that brings together all of the one man (band)’s recordings, including never-before-released demos (on the CD version).

Kent’s discography starts back in 1978 when his first two singles were released. An 8-song vinyl EP, Klark Kent, followed in 1980. The secret about Kent’s identity wasn’t exactly safe, as the press release included in the US promo, for instance, made barely-veiled konnections to Copeland. Intrepid Police fans knew. I knew (having that US promo version, with press release inside, helped). What is so kool about Kent’s tunes is that they’re snappy and fun. If you’re unfamiliar with Klark Kent (either the original 8-song or this new 18-song version), think of the songs attributed to Copeland on the first two Police albums (“Contact,” “On Any Other Day”). I played the hell out of this on my college radio show back in the early ’80s, especially “Don’t Care” and the teenage freedom epic, “Away from Home.” It may be due to the sheer exuberance of Kent’s tunes that I lost interest in The Police as they got bigger; the quirky fun evaporated as Sting took kontrol of the band (assuming he didn’t already have it). A couple of years after the EP’s release, nascent music video channel MTV aired the IRS Records-subsidised The Cutting Edge, which featured IRS and other record labels’ new wave artists and used “Theme for Kinetic Ritual” as its theme.

Klark Kent released numerous singles in the UK, nearly all of which included tracks not on the original 10″. (“Don’t Care” made the Top 50 in England and included 2 non-EP tracks, for instance.) This new Klark Kent (kinda konfusing; kouldn’t they kome up with something more katchy?) has all of the early B-sides and tracks released on the 1995 Kollected Works CD, and you get the never before released, bombastic “It’s Gonna Rain,” the similarly over the top “Someone Else,” and Kent’s lone Khristmas tune, “Yo Ho Ho,” which had originally appeared on IRS Records’ Just in Time for Christmas (among other compilations). In all there are 18 tracks on the 2LP and first disc of the CD set and they’re all alotta fun. Disc 2 of the CD set features a dozen of Klark’s demo versions and they’re all pretty interesting, too, some being quite different from their final, official versions. The vinyl release, though, is a beautiful pressing on thick wax and has a great gatefold cover, too. You’ll probably need your readers to check the kredits, though, so be ready for that. (You youngsters, just skip past that last comment. Oh wait – you’re already past it now. My bad.) Since Kent played all the instruments, though, you may not need the kredits to enhance your enjoyment when listening to his amazingly cheerful discography.

So there you have it. Klark Kent is back and the best thing to do about it is to welcome him into your home. Krank him up! – Marsh Gooch

4/5 (BMG 538907281, 2023)

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Oct 10 2023
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CD, reissue, vinyl

Marshall Crenshaw • Field Day [CD, LP]

Yours truly’s a bit late on getting this review completed. Reissued this summer, MARSHALL CRENSHAW’s Field Day has come out in a new edition with interesting bonus tracks and an explosive sound that’s nowhere near as bombastic as some said it was back in the day.

I don’t remember the furor being as big as is stated in the notes to this new 40th anniversary CD (also out on vinyl), but apparently it left enough of a mark that Marshall says in this edition’s booklet, “I think that all the criticism it got back then was completely lame.” Before we dig in to that, let’s just say now that Field Day is packed with some of Crenshaw’s best songs and sounds real good this far out from 1983. Producer Steve Lillywhite was a young, hot shot British producer then who was known – like fellow compatriot producer Hugh Padgham – as one who liked to use a ton of gated snare drum in his mixes. (You know the sound I’m talking about?! It was on a crazy number of hit records in the ’80s…) The critics thought that would ruin Crenshaw’s momentum, or uniqueness, or something. I was so hot for MC’s first record that I could barely wait for the followup, and when I heard that he was recording it with Lillywhite, I thought it was a great idea. Field Day arrived and I loved it right outta the… ummm… gate. After Richard Gottehrer’s bright, snappy production on Marshall Crenshaw, I figured this guy was gonna give us a sort of modern take on the Phil Spector wall-of-sound. The moment lead-off track and single “Whenever You’re on My Mind” broke into full instrumentation, I thought I was right. Mostly, I am.

Field Day’s not only filled to its jingle-jangle gills with power pop hooks galore, like on “Try” and “One Day with You,” it’s got a brilliant take of a somewhat obscure early ’60s tune called “What Time Is It” that was seemingly purpose-built for Crenshaw’s merry band of popsters AND the production style Lillywhite would bring to the mixing board. Yes, that big gated snare really stands out on the LP’s final cut, “Hold It,” though it’s used more as a sound effect than for its humongous song-propulsion capabilities. Now, when you get to the bonus tracks, the instrumental “TV track” of “Our Town” definitely suffers from mega-gate, but this was meant to be a backing track for the band to sing and mime to on television (Lillywhite insisted they mix these; not sure why there’s not one for “Whenever You’re on My Mind,” which was the only single released from the album). Anyway, the inclusion of this and “Monday Morning Rock (TV Track)” don’t really support Crenshaw’s “lame” comment, since these two tracks weren’t publicly available back in ’83. I suppose hindsight – and 40 years of rock ’n’ roll – softens the, ummm, blow of Gategate.

Speaking of bonus tracks, I really enjoy the covers of “Jungle Rock” and the live version of “Little Sister.” Not sure I like the new album cover artwork, but that shouldn’t prevent me or you from digging this disc. Altogether, this release of Field Day shows us how the talented Mr. Crenshaw was both ahead of his time and woefully behind it at the same time… in a good way. – Marsh Gooch

3/5 (Yep Roc YEP-3058X, 2023)

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Aug 17 2023
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reissue, vinyl

General Public • All the Rage, Hand to Mouth [LP]

Being that Dave Wakeling is still touring as both (or either) The English Beat and (or) GENERAL PUBLIC, it certainly makes sense that the latter’s two original albums, All the Rage and Hand to Mouth, are getting a vinyl reissue.

Wakeling and his English Beat cohort Ranking Roger started the group after their former band called it a day. Coming just after The Beat (as they are known nearly everywhere else) had just made solid inroads to the US charts with their 1982 release, Special Beat Service – and a couple of minor hits, “Save It for Later” and “I Confess” – it was anyone’s guess if the momentum could be capitalized on. Apparently, Dave and Rog had some ideas about how to do that. Beef up the dance beat and production values, keep some of the ska ingredients and melodies, bingo. You have to admit there’s something about General Public’s  swing that makes you wanna move around. And it’s kinda hard not to get tunes like “Come Again,” “Tenderness” and “General Public” out of your head. (And these three charted much higher in the US than any of The Beat’s singles.) Regardless, I preferred (and still do prefer) the scruffiness of The Beat. Always the rebel.

For most of the last couple of decades the two friends kept touring, eventually even doing shows that featured both “bands” – as in, the two lead singers doing songs from both General Public and The Beat. Sadly, Ranking Roger passed away in 2019 so it was up to Dave to keep the fire burning. He has, and this summer The English Beat toured the US and at the time of this writing are playing UK dates. I missed my chance to see them this time but I DO have my original Beat albums and these two snazzy General Public reissues to ease the pain. – Marsh Gooch

3/5 (BMG 538889351 and 538889361, 2023)

 

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Aug 08 2023
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10" vinyl, colored vinyl, Limited Edition, reissue, vinyl

Nick Lowe • Dig My Mood (25th Anniv. Ed.) [LP+10″]

Twenty-five years ago when NICK LOWE’s Dig My Mood was first released, I was twenty-five years younger. I mean, duh!, but my point is: I was not ready for a mature record. Of any sort. Still in my mid-thirties, I was in thrall to harder-edged music, still thinking that my alliance was with the punks, new wavers, and college rockers. Nick Lowe had been a member of that group, at least in terms of the “new wave” label given his music up until then. By 1997 I had been a college radio DJ, a writer for Seattle’s local music paper, The Rocket, and played in rock bands – not to mention “slaving” away at my day job, putting together music programming for restaurants and retail establishments. What had not occurred yet was, as Nick’s friend John Hiatt may have termed it, that slow turning indicating I had graduated into adulthood. But, being a longtime Lowe fan, I duly picked up Dig My Mood when it came out. And I didn’t really dig it.

Oh, sure, I could appreciate the musicianship, since Nick Lowe had always surrounded himself with top-notch players. Some of the guys on Dig My Mood had even played on some of his previous releases. But I just couldn’t get into the songs. “Faithless Lover,” “Man That I’ve Become,” all the rest, they were not “I Love the Sound of Breaking Glass” or “Cruel to Be Kind” or even “Raging Eyes.” Nick had grown up (well, jeez, he was in his mid-40s by then) and I hadn’t. Now, a song’s title doesn’t necessarily mean its lyrics are going to be youthful or mature, but there’s not a title here that sounds like “Crackin’ Up” or “Shake That Rat.” Alright, I think you get my point: I have grown up. Nick Lowe continues to be grown up (though he does employ his youthful wit on occasion), and his records – in an adult way – get better and better. (See my previous reviews of Nick’s stuff here.)

It’s a treat to hear Dig My Mood on this new vinyl reissue. Limited to 1500 copies, you get the original album with its dozen songs including Nick’s renditions of his own tunes (as mentioned above) as well as stellar covers of Henry McCullough’s “Failed Christian” and Ivory Joe Hunter’s “Cold Grey Light of Dawn.” As a bonus there’s a five-song 10″ EP that includes one studio recording (the great “I’ll Give You All Night to Stop”) and four live cuts, including “Cruel to Be Kind,” “Half a Boy and Half a Man,” and a nice solo rendition of the aforementioned John Hiatt’s “She Don’t Love Nobody.” All five tracks appeared on a fabulous box set, The Doings, back in 1999. (The live tracks also appeared on the 1997 CD single of Dig My Mood’s “You Inspire Me.”)

If you’ve been a Nick fan for awhile then this is a worthy addition to your collection, with real nice colored vinyl (blue for the LP, yellow for the 10″) and a great mastering job. I love the sound of Dig My Mood… now that I’m old enough to appreciate it. – Marsh Gooch

3.5/5 (YepRoc YEP-2635, 1997/2023)

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May 16 2023
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CD, reissue, vinyl

The Three O’Clock • Baroque Hoedown [CD, LP]

Set your wayback machine to Los Angeles, 1982. THE THREE O’CLOCK crowd into a small recording studio and lay down their first recordings, to be released as a humble 5-song EP called Baroque Hoedown on local Frontier Records. The foursome go on to spearhead what was coined as the “Paisley Underground,” a loose group of new indie groups that included The Bangles, The Dream Syndicate and Rain Parade. A movement in which young folks of the ’80s paid tribute to young musicians from the ’60s, it didn’t so much “take off” as it did permeate the growing college rock/MTV Cutting Edge world. (A couple of those bands found fame beyond that original clique.) Make your way back to now, 40 something years later, and that lil’ ol’ extended play has continued to inspire, enough so that YepRoc Records has reissued it with four more tracks and made a proper, exciting LP out of it. Okay, “LP” may be a bit of a stretch… Baroque Hoedown, even with bonus tracks, clocks in at under 30 minutes. Still.

The Three O’Clock lead off their debut release with the curiously titled “With a Cantaloupe Girlfriend,” which certainly caught my eye as a freshman English major-slash-college radio DJ. I dropped the needle on it and it caught my ear, too, with its insistent intro drum beat and guitar/keyboard swirl-o-rama. Bassist/lead singer Michael Quercio’s nasal, boyish, English-affected voice exudes wonder and respect for the sounds that his group pay tribute to, whether he and Gregg Gutierrez, Mickey Mariano and Danny Benair are doing their own accomplished tunes (“Cantaloupe Girlfriend,” “I Go Wild,” the excellent “Marjorie Tells Me,” “As Real As Real”) or their killer cover of The Easybeats’ “Sorry.” The band created a vibe that brought mid ’60s L.A. to early ’80s L.A. without sounding dated or cloying. And at the original five songs, it definitely left me and many like-minded kids wanting more. Of the bonus tracks here – all recorded around the same time – we get original “In Love In Too” and two more covers, “Feel a Whole Lot Better” (The Byrds) and “Lucifer Sam” (Pink Floyd), that are real zingers. (These originally came out on a 1983 French release that added them to the original five.)

Well, my friends, The Three O’Clock’s Baroque Hoedown is again available for your insatiable desire to dig what was put down before… I hope you’re ready for the big smile that’s gonna appear between your lucky ears. – Marsh Gooch

4/5 (YepRoc YEP-2730, 1982/2023)

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Apr 23 2023
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Audiophile, Limited Edition, record store day, reissue, vinyl

Paul McCartney & Wings • Red Rose Speedway (50th Anniversary Half-Speed Master) [LP]

The reissue train keeps chugging along, and so here we are to tell you about PAUL McCARTNEY & WINGS, who have just released their latest reissue, a half-speed mastered edition of Red Rose Speedway. This 1973 album is best known for the big hit “My Love,” and also included a super rockin’ tune called “Big Barn Bed” (forever etched in my mind as “Big Red Barn” because of a bootleg live recording I had with that erroneous title on it). It was the second proper Wings album (after 1972’s Wild Life) and it was – if I may be frank – just about as spotty.

Like most of McCartney’s solo material, Red Rose Speedway has been reissued numerous times so it’s not exactly a tough one to find – especially since it did contain the band’s first number one single which certainly helped the album’s sales. Though this version is notable for its audiophile sound qualities, the songs themselves are a mixed bag. The two I mentioned above are the best, and since they’re the first two cuts, it goes a bit downhill from there. That being said, there are some really good songs here, such as “Get On the Right Thing” and bits of the medley that closes side two. McCartney and Wings were clearly trying to find their way at this point, for it was less than a year later that the core trio of Paul, wife/keyboard player Linda and old friend/guitarist Denny Laine broke out of their sophomore slump with the worldwide smash Band on the Run.

Since I’m not only an unabashed Macca fan but an audiophile fanatic, too, this version of RRS was a must-have… if only for the punchy sound of “Big Barn Bed” and the tone of Henry McCullough’s Les Paul in the sublime solo of “My Love.” You’d also likely notice how much better McCartney’s bass sounds and some mix elements that aren’t as clear in previous versions of the album. But if you’re not as big a fan as many of us are you might not be as anxious to add this to your collection. Still, those working their way through the McCartney solo catalog might want to grab this version while they can; one day you might appreciate the subtle beauty of “Little Lamb Dragonfly” and wish you had it sounding as great as it does here.

By the way, since McCartney has been releasing these half-speed masters on each album’s 50th anniversary, THAT means Band on the Run is next. Take my money now! – Marsh Gooch

3/5 (Capitol 00602448583246, 2023)

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Apr 20 2023
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Audiophile, reissue, vinyl

David Bowie • Aladdin Sane [LP]

WHAT? Another DAVID BOWIE reissue? Get out! No, it’s true! As many artists have been doing in the last decade or so, when one of their classic albums celebrates a round-number anniversary (as in, one ending in a “0″ or a “5”), they put out some kinda re-release to capitalize on the moment. And as has been lamented about throughout the world wide web – and even here! – sometimes a new super deluxe box set or reissue is completely welcome… and sometimes it ain’t. Luckily for you and me, this 50th anniversary vinyl reish of Aladdin Sane is absolutely worth it. And here’s why.

First of all, let’s put it out there: This is my favorite Bowie album. I own the clear vinyl Rykodisc Analogue edition, the double CD 30th anniversary reissue, a silver vinyl reissue from a few years ago, and now this: a half-speed master that’s just come out. It’s no secret that I am also a big fan of these audiophile releases, be it Mobile Fidelity’s decades old Original Master Recording series, Classic Records’ killer and collectible reissues (The Who, Big Star) or other labels’ own such releases. I can hear the difference! And having already picked up last year’s Ziggy Stardust half-speed master and being overwhelmed by how much better it sounds than any of the handful of other Ziggys I have had ’n’ heard, I knew I’d be all over this one. Could “Cracked Actor” sound any better? Not unless you were in the studio when Ken Scott and Bowie were doing the final mix! Could “Drive-In Saturday” sound any better? No, my friends, for this is, indeed, a crash course for the ravers. I could go on. But then I’d have to use my brainpower to keep coming up with clever quips instead of to just TAKE IT ALL IN. At the end of a listening session with this baby, all I can say is that I am definitely a sucker for quality vinyl. And let’s face it: All I have to give is guilt for dreaming! – Marsh Gooch

5.5/5 (Parlophone DBAS 50, 2023)

 

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Apr 18 2023
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CD, digital download, reissue

NRBQ • Tiddlywinks [CD, DD, LP] / Terry Adams & Steve Ferguson • Louisville Sluggers [CD, DD]

We’ve got another new Omnivore reissue of a classic NRBQ album to talk about and it’s Tiddlywinks. Not a boring kids game, this one. Well… it does have a slight naiveté to it, but this one – originally issued on the band’s Red Rooster label in 1980 – is pure NRBQ. You get all the ingredients of a Q classic: humor, poignancy, rockin’, rollin’ and a slightly skewed yet completely healthy take on what makes rock ’n’ roll so fun all these years along.

Probably the NRBQ tune most people know (if they know any of them) is “Me and the Boys,” a cracker of a song that’s been covered by both Dave Edmunds and Bonnie Raitt (both big Q fans), and it’s here sounding better than ever. Other stellar band originals “Want You to Feel Good Too,” “Beverly” and “Feel You Around Me” are here, too. Basically, all three NRBQ songwriters are well represented: Terry Adams (keyboards, clavinet), Al Anderson (guitar) and Joey Spampinato (bass). (Drummer Tom Ardolino didn’t write any of these but his drumming is excellent.) Also present on Tiddlywinks is the band’s sprightly take on “Music Goes ’Round and Around” (from 1935 and a perennial jazz/R&B favorite). This Omnivore reissue includes a few bonus tracks, though one or two have appeared on previous Q CD reissues. All told, Tiddlywinks is an essential release from the New Rhythm and Blues Quartet.

Also reissued by Omnivore is a 2006 release by founding NRBQ members TERRY ADAMS & STEVE FERGUSON, Louisville Sluggers. Though Ferguson left the band after only a few albums, he was the main dude when they were still a quintet and is responsible for some of their all-time greats, including my fave, “Flat Foot Flewzy.” These two guys have stayed friends over the years and they collaborated on this album to prove it. Louisville Sluggers is a Q album in all but name, since the aforementioned Tom Ardolino provides drums for the proceedings and a few other band buds contribute, but the overall feel of this release is not as “Q-y” as I’d hoped for. You do get the essence of an NRBQ outing, true, but if you weren’t already a fan you might not detect it. Still, with guys this talented, how can you not find something to dig?  – Marsh Gooch

4/5 (NRBQ, Omnivore OVCD-500), 2.5/5 (Adams & Ferguson, OVCD-514) (2023)

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Feb 13 2023
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CD, record store day, reissue, vinyl

Marshall Crenshaw • Marshall Crenshaw [CD, LP]

I always joke that Marshall Crenshaw is my namesake, but the truth is, he’s only slightly older than me and also: we’re not related and don’t even know each other. I did meet him once, in 1982, when his debut album, Marshall Crenshaw, was released. I was a 19 year old DJ at the college radio station, KCMU (University of Washington; it’s now KEXP), and he was one of the first “famous” people I ever met. Sharing the same first name was a big deal to me then. (Kinda still is…)

Crenshaw’s rootsy, power poppy debut album has now been reissued on CD by YepRoc, who issued a 2LP vinyl set on Record Store Day Black Friday 2022. Marshall Crenshaw is packed with hoppin’ and boppin’ “alternative rock” that harks back to early greats like Buddy Holly, yet updates the sound with more jingle, more jangle, and the tight production of ’60s legend, Richard Gottehrer. I instantly fell for that sound! You couldn’t deny the energy and bounce of “She Can’t Dance,” “There She Goes Again” or “Cynical Girl.” This many years later the subject matter is definitely dated – to someone my age it now seems silly to be singing about yer love for a gurl – but the melodies and the beat are still timeless. I’m a big fan of Marshall’s great cover of “Soldier of Love” (originally recorded in 1962 by Arthur Alexander and covered right around then by The Beatles on one of their BBC sessions [later appearing on multiple bootlegs and finally on The Beatles at the BBC, 1994]), here having more of a “girl group” vibe, as does MC’s own “Mary Anne,” still my top song on this long player.

Marshall Crenshaw (center) visits the UW’s KCMU radio station, 1982. That’s yours truly at right.

Back to the B-sides (as in bonus tracks): The YepRoc CD – like the limited edition RSD vinyl – includes a number of bonus tracks, most of them different from the ones that graced Rhino’s version. I think their 2000 release has better extras, especially “Somebody Like You” and the Buddy Holly cover, “Rave On,” which for some reason aren’t included here. But there are some goodies here, including “Something’s Gonna Happen” and “You’re My Favorite Waste of Time” (both available on both versions). This new issue also includes a couple of alternate versions of songs from the album (“Brand New Lover” and “Mary Anne”) but they’re not exactly revelatory. I imagine Marshall wanted to shine a light on some other things this time around, but I’ll bet the bonus tracks from both versions would fit on one CD along with the album itself. Regardless, if you don’t have Marshall Crenshaw in your collection and you like jangly power pop, you couldn’t do much better than to pickup either the RSD 2LP or the new CD. Yep, Marshall rocks, all right. – Marsh(all) Gooch

4/5 (YepRoc YEP-3027X, 1982/2022)

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