Archive for February 2010
Another late breaking release announcement: Hip-O Select has announced the reissue of I’ve Got So Much to Give, the first record by Barry White. Out of print for years, this remastered disc comes with new liner notes by BW collaborator Jack Perry (who also worked on last year’s killer Unlimited box set) and two bonus cuts making their CD debut. And collector’s rejoice: it’s unlimited!
Check out the tracks after the jump. Read the rest of this entry »
Awhile back I’d posted on the existence of a “new” Jackson 5 title, J is for Jackson 5. My guess was that, like the similarly titled B is for Bob set done for Bob Marley, the CD would be a kid-friendly compilation of J5 tunes (not that they really recorded that many kid-unfriendly tunes). Thanks to an Amazon listing, my beliefs have been proven correct.
The tracklist offers nothing new for J5 acolytes, unless you don’t have any of the officially-released, now out-of-print Motown karaoke CDs. Some of the instrumental backing tracks that appeared on those sets are present here, so if you’re craving instrumental Jackson 5 and can find this disc for cheap, you might as well go for it when it streets on March 30.
Full track list after the jump. Read the rest of this entry »
On this day 42 years ago, Decca Records released a single, “Silent Sun,” by a new band, Genesis. It was the first single off From Genesis to Revelation, an album that would not be released until nearly a year later. Neither the single nor any material from that first album would resemble anything near the forms of Genesis we know and love today. The sound was less prog and more psychedelia, and the teenaged band members – lead vocalist Peter Gabriel, keyboardist Tony Banks, guitarist Anthony Phillips and bassist Mike Rutherford (there was no full-time drummer at the outset) – had much musical development to experience.
Of course, after a few years and lineup changes (Steve Hackett replaced Phillips as a guitarist, and short-lived drummer John Mayhew was replaced by Phil Collins), Genesis became a prog-rock tour de force. And then, for better or worse, they became a lean, mean pop band after Gabriel and Hackett left the fold and Collins took double duty on drums and vocals (alongside Rutherford’s balancing of bass and guitar). No matter which version of Genesis you prefer, there’s no denying that the band left a long musical legacy, one that’s nabbed them induction into the Rock and Roll Hall of Fame next month.
The brash youngster in me first gravitated toward the MTV-ready Genesis of the ’80s, but over time I’ve come to appreciate the kind of wacky genius Peter Gabriel bought to the fore. And that genius kept shining throughout his solo career, whether he was recording screwy New Wave-esque records with worldbeat influences or orchestra-backed covers of indie-rock (that would be his most recent record, the recently-released Scratch My Back).
The oddest entries in the Gabriel catalogue, however, have got to be a pair of records released in the early ’80s and more or less unheard in America. After his 1980 and 1982 records (known either as Peter Gabriel and Peter Gabriel or Melt and Security, depending on who you ask), he released a special version of each of them in German. Read the rest of this entry »
When you’re around kids, you often find themselves saying what they’d do if they were in charge. There would be no school, no bedtime, unlimited pizza, that sort of thing. Once you grow up those visions look more fanciful, but sometimes that sentiment sticks with you, no matter how much you bury it.
I know I feel that way with the catalogue scene. Every day, every song, every trip to the record store spins off a dozen ideas in my head that I can’t wait to share with anyone who will listen. And the fact that I got to be a part of the process for a short time, even as a mere intern at Universal, was another bunch of cherries on top of life’s rich sundae. Of course, like every pleasure in this world, you want more.
One thing I always wanted to see in my time as an intern was exactly how an idea is born. From my perspective, I’d walk into the office and it would already be go-time on some idea. I’d give anything to someday be in the room when someone – maybe myself, maybe someone else – says, “Hey, wouldn’t it be great if we did such-and-such a project?” The fact that one can spin a career from that spark is nothing short of mystifying. Read the rest of this entry »
The other night, my radio happened upon “Manic Monday,” one of the best pop songs of the 1980s. I’m sure you’re all aware that the tune was written by Prince (under the pseudonym “Christopher,” an effect from his Under the Cherry Moon days) and given to Susanna Hoffs and company after Apollonia 6 recorded a version that was never released. You may also know that the song itself hit No. 2 on the charts, kept from the top by none other than Prince and The Revolution’s “Kiss.”
You might not know why Sunday would be considered a fun-day (or an I-don’t-have-to-run-day for that matter). I don’t either, and that always makes me think why Prince would come up with such a line. Clearly he had more fun on Sundays than I did as a kid (I often used Sunday to mope about soon-to-be-manic Mondays). But I don’t think I could take it up with him – or The Bangles for that matter. And not only because Susanna Hoffs is crazy pretty, but because there’s better things to say to the band – like, “Hey! What if your albums got a heavy-duty reissue treatment?” (How’s that for a segue! Now, I realize all three are available, with a bonus track each, from Wounded Bird Records. But I suppose there isn’t anything stopping a guy from imagining what could be.)
In tribute to one of the best female rock groups of the ’80s, I give you a special three-for-one version of Reissue Theory, where I tackle All Over the Place, Different Light and Everything. Read on after the jump! Read the rest of this entry »
Some news is coming through the pipeline that a good chunk of the Katrina and The Waves discography is being reissued in honor of the 25th anniversary of “Walking on Sunshine,” their biggest U.S. hit and one of those inescapable summer anthems. There’s a lot of confusion surrounding these reissues (more on that in a minute), but these look pretty interesting, especially because of the material that’s being released themselves.
You see, before the smash success of Katrina and the Waves, the band’s 1985 LP for Capitol, many of their best known songs – “Walking on Sunshine,” “Do You Want Crying” and “Going Down to Liverpool” (later covered by The Bangles) – were already recorded on their indie albums. They lack the spit and polish that made the Capitol versions such big sellers, but that’s what makes them interesting. These original versions are raw and poppy, which will make them a fine addition to anyone’s collection.
Now here’s where things get interesting. I’ve seen release dates (per MusicTAP) for three titles: Shock Horror, The Waves’ 1983 debut (of which almost no info can be easily found on the Internet) will hit stores on March 29, Katrina and The Waves (1983) will come out on April 12 and Katrina and The Waves II (1984) will come out April 29.
There are two issues with that info. One, I’m not sure any of those release dates are right. March 29 and April 12 may be – they’re both Mondays and could be referring to U.K. release dates, so one could assume March 30 and April 13 releases here. But April 29 is a Thursday this year. I somehow doubt a reissue is coming out on such a day of the week. And furthermore, most Waves discographies list their 1983 LP as Walking on Sunshine, not Katrina and The Waves (that would be the name of their first LP for Capitol, whom I’m now pretty sure has nothing to do with these reissues).
Finally, in researching these titles, I happened upon this article, which indicates that Kimberley Rew (co-founder of the band and primary songwriter for the group) is masterminding these reissues, which will also include The Bible of Bop, Rew’s 1982 solo album featuring the first recordings of The Waves.
Until this mess is sorted out, I can at least give you the track lists for the three Waves LPs that are to be reissued. View them after the jump and keep your eyes peeled because there’s got to be more to this story. Read the rest of this entry »
Amazon has an April 6 date for a new reissue of Genius + Soul = Jazz, a 1961 instrumental album by Ray Charles. Backed by members of the Count Basie Orchestra, featuring orchestrations by Quincy Jones and propelled by a Top 10 hit, “One Mint Julep,” the LP served as his first for Impulse! Records and is now owned and distributed by the Concord label (which owns the rights to all his Impulse and ABC/Paramount material, from 1960 to 1973).
Concord’s done quite a bit of stuff with this part of Brother Ray’s discography in the past year, including a deluxe version of The Genius Hits the Road (1960), a two-for-one version of Modern Sounds in Country & Western Music Volumes 1 and 2 (both 1962), the CD premiere of Message for the People (1972) and several digital releases of other sets in the Concord catalogue.
In 1997, Rhino released this album on a double bill with My Kind of Jazz, an instrumental LP recorded for Tangerine nearly a decade later in 1970. No bonus tracks were had there and it remains to be seen what will be dug up now. Keep it here for the latest, as always.