Yesterday was the 20th anniversary of Fear of a Black Planet, the third album by hip-hop legends Public Enemy. Billboard did a great write-up about the album's impact after two decades, which dovetails rather interestingly into a highly-recommended recent documentary I had the pleasure to see last week. The film, Copyright Criminals, is a thought-provoking look into the rise of sampling in music and the ongoing legal challenges faced by samplers. Public Enemy frontman Chuck D, as well as
Back Tracks: ABBA
Continuing the Rock and Rall Hall of Fame coverage leading up to Monday night's induction, here is another catalogue retrospective for one of the artist inductees. In his latest book, 2009's Eating the Dinosaur, Chuck Klosterman includes an essay praising ABBA for their intriguing critical status (contending that, like AC/DC, ABBA's work never operated near relevance or irrelevance, thereby guaranteeing that it will have a more lasting impact) as well as their somewhat unusual commercial
Channel One
There's a lot of older music fans out there who would give anything to "bring things back" - whatever that might mean to them. Bring it back to the days of radio hits, record stores and so on. Optimistic though we may be, we're pretty much resigned to the fact that most things aren't going to revert back to the way they were. One notable exception exists in the catalogue world, though: it's a simple four-letter word that is quite literally changing the way we listen to our older music. It's
Back Tracks: Genesis
Continuing with our Rock and Roll Hall of Fame pre-coverage, we have the first of five catalogue overviews from our artist inductees. Genesis is one of many bands without a definitive entry point into their catalogue. As a five piece outfit composed of Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins through the early 1970s, the band put out some delightful prog-rock that was surprisingly accessible. (Considering that their live sets consisted of twenty-minute jams and
Judas Priest Re-Forging "British Steel"
Legacy Recordings announced details for a new Legacy Edition of Judas Priest's 1980 classic British Steel. This LP - their second with producer Tom Allom - was destined to become a heavy metal classic from the get-go, earning Priest their first U.S. Top 40 record and paving the way for a loud, in-your-face but streamlined metal sound that would be deployed to full effect by bands like Metallica and Anthrax in the coming years. As for the vault material, the audio offerings are nothing new -
Back Tracks: James Horner
As this post is being written, the Oscars have wrapped up. Exciting, right? Of course not. The Oscars are perhaps as ridiculous as the Grammys, and usually don't have a heck of a lot to offer fans of any music in general. Perhaps this year was a bit of an exception - it was very exciting to see Michael Giacchino score his first Oscar for the excellent score to Up - but for someone raised on ultra-thematic scores such as John Williams' work for Star Wars, Jaws and others, there's usually not much
Rarities Editions: Half of a Good Idea?
A few weeks before I started this blog, I kept seeing pre-order links for a bunch of catalogue titles from Universal Music Enterprises under the banner of "Rarities Edition." By the time the first batch of them came out in January, I had found out that the sets were essentially the bonus discs from some of UMe's unmistakable Deluxe Edition titles, priced to entice those collectors who wanted those bonus cuts on disc without purchasing (or re-purchasing) a more expensive set. Now at first blush,
That's Why They've Done It Again (UPDATED 3/4)
A break from the usual weekend radio silence to report on a very exciting story over at Slicing Up Eyeballs: EMI's Dutch Web site has added reissues of Duran Duran's Notorious and Big Thing to their catalogue schedule. Both titles have a release date of June 7, and will ostensibly serve as companion pieces to the great, recent deluxe editions of the Duran discography (Rio and a vintage live show, Hammersmith '82, were released last fall, and 2 CD/1 DVD versions of Duran Duran, Seven and the
The Paradox
If you're an avid follower of the music business at large, you know the common narrative that defines the industry: once, record labels signed great talents and earned lots of money and influence off the back of that art. Gradually, that art became secondary to business and excess, and as labels became absorbed into bigger corporations and followed trends instead of setting them, music fans got increasingly put off by the product. By the time rapid technological advances changed the way we
Reissue Theory: The Family, "The Family"
Tuesday was the 20th - count it! - anniversary of I Do Not Want What I Haven't Got, the polarizing breakthrough LP by Sinead O'Connor. There's a fascinating write-up about the record and its aftermath over at Popdose that really shows off what an intriguing figure O'Connor was at the time. It certainly says something that an album with one Top 40 hit (her only one) sold over 7 million copies in its day. Clearly something was up here. I completely forgot that the record was given a double-disc
Reissue Theory: The Art of Noise, "In Visible Silence"
The Art of Noise usually gets lumped into that U.K. '80s esoterica category that a lot of their early labelmates on ZTT (Frankie Goes to Hollywood, 808 State, The Buggles and so on) seem to be in. Their sound was hip, catchy and weird, they say, and maybe a bit too much so for their own good. This is kind of funny, particularly because it's kind of wrong. The Art of Noise were indeed hip, catchy and weird. Their early work on ZTT, like the sample-heavy "Close (To the Edit)" and "Beat Box," set
Back Tracks: Tears for Fears
Not many people dig music from the 1980s. To a degree, I understand why. Sandwiched between the monstrous artistry of album-oriented rock bands of the '70s and the mainstream-busting advances of grunge and rap in the '90s, most of the music of the '80s was characterized by an emphasis on image (i.e.: MTV) and artifice (why hire a drummer when you can buy a Linn LM-1?). But a good song - whether it's a hit or not - will transcend its labels and packaging and hopefully turn into something you'll
Release Round-Up: In Case You Missed Them
Here are a couple of catalogue release tidbits, one that I'm certain is fairly new and a few stragglers I've neglected to mention thus far: Rhino has started taking pre-orders for The Prague Sessions, a new Peter, Paul and Mary compilation. The set features previously unreleased live versions of the folk group's best-known songs, backed by the Czech National Symphony Orchestra. Should be an interesting new way to hear these songs. On March 23, Eagle Records is releasing Live at Knebworth, a
Rumor Mill: More Def Leppard Reissues Coming?
Tonight I was given an interesting tip from a friend, Kevin Alba of Metal Asylum, concerning a potential next wave of reissues from Def Leppard. According to the story (scroll down a bit more than halfway to read), Japan is getting SHM-CD remasters of the band's first two albums, On Through the Night (1980) and High and Dry (1981). Now of course this kind of stuff happens all the time, but what makes it interesting is that both sets are supposed to feature bonus discs with as-yet-unannounced
So Much to Give
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.
(Slightly) Turning Back the Clock
Today, Legacy releases a double-disc edition of Supernatural, the massive comeback album Santana released in 1999. Perhaps more than any catalogue reissue I've ever followed, there's something positively mind-boggling about seeing an album that's only a decade old - even one that's a successful, good listen - get the deluxe treatment. You see, while I have been passionate about reissues for much of my music-collecting life, I'm firmly a part of the generation that went from watching Britney
Back Tracks: Marvin Gaye
Our Valentine's Day weekend preparation continues with a look back at the reissue prospects of Marvin Gaye, one of the finest soul voices of the century (and, in my opinion, one of the most heartbreaking losses in popular music). It's quite interesting that Gaye's catalogue, split about 90/10 between labels (Motown and Columbia), has been well-serviced by both. Chalk it up to the fact that one of his biggest hits, "Sexual Healing," was released on the latter label in 1983. Take a look at the
Voices, Another Sound
EDIT: Those who'd like to read the press release, which also has a neat note on the packaging of the reissues, can do so here. ORIGINAL POST: Duranies like me can breathe a sigh of relief: following the news that an April 13 release date has been confirmed for the deluxe reissue of Duran side-project Arcadia's lone album So Red the Rose (1985), our friends at Slicing Up Eyeballs have confirmed that EMI will release the other planned deluxe sets for Duran Duran (1981) and Seven and the Ragged
The (Aggravating) Sound of The Smiths
Today was the day that U.K. fans, elated from the grassroots success of making Rage Against the Machine's "Killing in the Name" the 2009 Christmas No. 1 single, attempted to make lightning strike twice with a campaign for The Smiths' immortal "How Soon is Now?" Call me a spoilsport, but I have my doubts that the campaign is going to make the same kind of headway. The "Killing in the Name" incident was just right-place, right-time and had suitable fire underneath it (people will buy a single so
"Raw Power" to Melt Faces in April
Fans of The Stooges, get ready for a rush: Legacy Recordings is reissuing Raw Power, one of the most iconic pre-punk rock records of the 1970s. And hardcore fans are going to drool over the goodies that are coming their way. The standard set is going to be a two-disc Legacy Edition (you know, the ones in a double digipak with a slip case). On the first disc is the original album as originally mixed by David Bowie. This is a really big deal, as the last time Legacy reissued the record in 1997,
Barry's B's
It may be winter outside (especially in my neck of the woods - I live in one of those places labeled as a "snowpocalypse" or "snowmageddon" in the news), but in my heart it's always spring. And why not? It's always a good time of year for catalogue music, whether you're listening to it, buying it or (oh you lucky ones) working on it. And Valentine's Day is just around the corner, making it a great time here at The Second Disc to pen a few features on some great romantic hitmakers. One of my
Late Night Release Round-Up: Motown Around the World, Arcadia Date, Soundtrack Notes
The above picture, from Hip-O Select's Twitter page, indicates that Motown Around the World is inching ever closer to a release. The compilation, teased by the label since last year, is said to be a comprehensive set of the many foreign-language versions of classic Motown hits as well as a few international singles only available in those territories. Expect cuts from Stevie Wonder, The Supremes, The Four Tops, The Temptations and more. Another nugget from the social-networking pipeline: Duran
Grant Us an Extension
The other day I was talking about how us catalogue fans can sometimes end up wanting that one missing track to add to our collections. I used the 45 version of Billy Joel's "Sometimes a Fantasy," which runs well past the fade-out on the LP, as an example. Interestingly enough, I realized that the track also adhered to another concept I realized I'm enamored of concerning music in general. When I was a kid, I was always interested in the idea of a fade-out. You'd be listening to a song, getting
Reissue Theory: Madonna, "Like a Virgin"
For someone so obsessed with image, it's kind of unusual that Madonna has such an uneven back catalogue preservation behind her. In 2001, her first three albums - Madonna (1983), Like a Virgin (1984) and True Blue (1986) - were remastered with a pair of bonus tracks each (all 12" dance singles). Nothing from that point on, including her crowning achievement Like a Prayer (1989), has been given even a remastering. As for her hits, they can be found on one of a few compilations. There's The
Back Tracks: The Who
Were you left cold by The Who's straightforward, inoffensive performance at The Super Bowl last night? Did you hear will.i.am's pointless remix of "My Generation" and think about a time in which that song actually meant something? This installment of Back Tracks takes you through the deluxe editions of The Who's discography, so you can focus on the glory days and not Roger Daltrey's incredibly silly get-up. And take heart: The Who's back catalogue is probably one of UMe's grandest war horses.