Attention all Bruce Springsteen diehards: Come Nov. 16, you’ll be “waiting for a moment that just don’t come” no longer. That’s when the deluxe reissue of Springsteen’s seminal 1978 album Darkness on the Edge of Town, a project that’s been years in the making, will finally arrive. And The Promise: The Darkness on the Edge of Town Story, whose existence was confirmed via press release today, sounds even cooler than we’d dared imagine. READ FULL STORY
Tag: Reissues (11-20 of 22)
Bob Dylan completists have something to look forward to this Oct. 19, when the ninth installment of his ongoing Bootleg Series arrives in stores. The Whitmark Demos: 1962-1964 will collect 47 rough takes the young Dylan recorded for his first two music publishers.
Along with early versions of well-known classics like “Blowin’ in the Wind,” “The Times They Are A-Changin’,” “Masters of War,” and “Mr. Tambourine Man,” the set will also collect 15 Dylan originals that never made it past the demo stage. A press release from Columbia Records says the demos feature Dylan “accompanied only by his acoustic guitar, harmonica and occasionally piano.” While surreptitious copies of many of these recordings have long circulated throughout the fan community, it’s still pretty cool that they’re being released in a legitimate format with liner notes after all these years.
As if that’s not enough Dylan for one day, Oct. 19 will also see the release of a box set with remastered mono versions of his first eight albums, from 1962’s Bob Dylan through 1967’s John Wesley Harding. If you have any Dylan-loving audiophiles in your life, here’s your chance to take care of some holiday gift shopping months in advance.
Will you be buying either of these offerings? Which Dylan demo are you most looking forward to hearing?
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by, amongst others, The Beatles’ music label Apple is set to release 15 remastered versions of albumsJames Taylor (1968’s James Taylor), Billy Preston (1969’s That’s the Way God Planned It, 1970’s Encouraging Words), Badfinger (1970’s Magic Christian Music, the same year’s No Dice, and 1972’s Straight Up), and classical composer John Tavener (1970’s The Whale and 1971’s Celtic Requiem, which will be available on the same CD). Apple are putting out the collections on October 26.
Apple acts didn’t always enjoy the greatest success during their time with the label. But history has proven that, in addition to their other talents, the Beatles’ track record as talent spotters was pretty decent. Welsh rockers Badfinger are now regarded as one of the great, tragic, cult bands and their song “Without You” has been much covered over the decades; John Tavener was twice nominated in the ’90s for the presitigious UK award, the Mercury Prize; and I believe that James Taylor kid found some success in the ’70s. The slate of reissues will also include albums by Mary Hopkin, Jackie Lomax, and the Modern Jazz Quartet. They are the first Apple releases to be available by digital download.
Will you be buying any of the reissues? Do you have a favorite Apple act (who don’t have members called John, Paul, George, and Ringo)? And do you think this is is the first step towards Apple making you-know-who’s albums available to buy digitally? Let us know!
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Rumors of a deluxe reissue for 1978’s Darkness on the Edge of Town, arguably Bruce Springsteen’s finest hour, have reached legendary status among Springsteen fans since they first surfaced around 2008. Good news: That long-awaited project could be in your hands by this Christmas, if you believe E Street Band guitarist Steve Van Zandt’s latest interview.
Van Zandt told a British radio station (via Rolling Stone) that the reissue could include as many as 10 previously unheard outtakes from the Darkness sessions, along with remastered versions of the 10 amazing songs from the original album. The prospect of instantly doubling Darkness like that is enough to send any fan into hysterics.
But what to make of Van Zandt’s suggestion that Springsteen might be adding new vocals to some of those 30-year-old outtakes? “We’ll go back and he might finish a lyric on one or two, or finish a harmony on one or two, but we’ll keep them intact pretty much,” he said. The Rolling Stones did something similar for their recent Exile on Main Street reissue. I’m frankly not sure this kind of retroactive tampering makes sense in either case. Consider, by contrast, the Beatles’ mid-’90s Anthology series — the two new/old songs the surviving members doctored up were both excellent, but the most fascinating part of those discs had to be all the unfinished, unpolished, and relatively untouched outtakes.
That said, Van Zandt’s “we’ll keep them intact pretty much” is reassuring. And he’s one of the people most responsible for the raw, direct sound of the original Darkness, so I hope we can trust him to keep any 2010 embellishments in check. Anyway, what do you think of this trend of finishing old outtakes decades later? Are you looking forward to the Darkness reissue as much as I am?
(Follow the Music Mix on Twitter: @EWMusicMix.)
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Little Steven defends his 'coolest garage rock of the last decade' picks. 'Bruce Springsteen? Call it employment insurance'
Steven Van Zandt recently counted down what he believes to be the coolest garage rock songs and albums of the decade on his Undergound Garage radio show. There’s a lot of great music on both lists. But there’s also some eyebrow-raising choices. For example, several of the acts Little Steven recommends are on the guitarist’s own Wicked Cool label. It also transpires that Steven is a huuuuuge fan of the CD Magic by Bruce Springsteen, who really is Van Zandt’s “Boss” when he’s playing with the E Street Band. We asked Van Zandt to defend five of his more “interesting” picks.
And he agreed!
Bruce Springsteen and the E Street Band: Magic
Van Zandt-featuring 2007 collection, widely regarded as being inferior to 2002’s The Rising
“Call it employment insurance [laughs]. I do have to occasionally see the man, you know! Obviously I can’t be too objective about it. But I honestly believe that was a terrific album. I think it’s a great statement that at this stage of his career my friend is continuing to write songs that are vital and serious. I looked at the three records we did in the last ten years (The Rising, Magic and last year’s Working on a Dream) and that one had the most resonance for me. It just seemed to be the one that was the most consistent. But it was a close call. It could have been any three of them. They’re all quite good, I think!”
Two of pop culture’s reigning blonde music-makers are out this month with reissues of their big hit albums: Taylor Swift’s repackaging of Fearless is available today, with six new songs and a bunch of behind-the-scenes videos; Lady Gaga will send her Fame Monster to stores on the hella-crowded Nov. 23 — it’s got eight new songs and will be available in a $114.98 superdeluxe format that includes an “artbook” with photos, posters, paper dolls, and a lock of the Lady’s hair that doubles as a bookmark. Seriously.
But with artists having such a difficult time finding ways to monetize their new content (if not their hair) in today’s hyper-internetted music industry, are fully-packaged re-releases of relatively recent material really a worthwhile enterprise? Or (as long suspected) are they a crassly commercial, increasingly futile attempt to wring more cash out of loyal fans? The existence of iTunes changes the game here somewhat — you could skip all the extras on Fearless 2, for example, and download only the new songs that interest you for $1.29 a pop. But since both of these women are veritable founts of creativity, why not just rhyme up a few more diary entries (in the case of Swift) or have a couple more fever dreams (in the case of Gaga) and put out a whole new album? Why insist on making those of us who still value physical product rebuy the stuff we’ve already purchased in order to get to the fresh morsels? You tell me, Mixers. Who’s buying?
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Photo Credit: Swift: Jill Bednar/PR Photos; Gaga: Robin Wong/PR Photos
We’ve featured all manner of Beatles-related content with you in the past week, but we’d be remiss not to review the remastered reissues of their albums themselves. Read on for our take on the long-awaited CDs that arrive in stores tomorrow…
In Mono; Stereo Box Set; Individual stereo albums: Please Please Me; With the Beatles; A Hard Day’s Night; Beatles for Sale; Help!; Rubber Soul; Revolver; Sgt. Pepper’s Lonely Hearts Club Band; Magical Mystery Tour; The Beatles; Yellow Submarine; Abbey Road; Let It Be; Past Masters
Fair warning: If you are not already among the billions who adore the Beatles, the newly remastered CD editions of their work will not necessarily convert you. These are, after all, the same songs that have been out there soundtracking lives for decades now.
Yet in a certain sense, they really aren’t. Beatlemaniacs of all degrees who re-purchase these beloved albums are in for a listening experience that is nothing short of revelatory. No knowledge of the technical remastering process is required to notice the difference between these and the iffy first wave of Beatles CDs that was issued in 1987. All it takes is one listen to a song you thought you’d memorized down to the last grace note to realize how much you’ve been missing.
Kim Deal discusses the 'downright scary' Pixies reissue project, her 'weird' former label, those furry Polish hats, and other things of (possible) interest
It’s been five years since the Pixies got back together, and despite various rumors and false starts, there’s still not a whole lot of hope they’ll put out their long-awaited fifth album anytime soon.
But fans still have a reason to be happy: they’ll soon be treated to a swagged-out box set (appropriately given the larger-than-life moniker Minotaur) that will contain the Pixies’ entire catalog (four albums and one EP), a book, a concert DVD that includes every music video, and more. But Pixies bassist (and frontwoman for the Breeders, whose Fate to Fatal EP dropped this week) Kim Deal tells the Music Mix that she doesn’t see Minotaur as a celebration of their music, necessarily. In fact, she says it’s not about the band at all. Minotaur is about one man, and one man only: Vaughan Oliver, the graphic designer behind the iconic album artwork for the Pixies and nearly every ’80’s release from the famed British indie label 4AD. Find out why — among many other things — in a somewhat wacky Q&A after the jump.
Unless and until the Pixies’ on-again/off-again reunion leads to any more new recordings, fans will have to content themselves with listening to the four awesome albums (and one awesome EP) that the alt-rock pioneers released between 1987 and 1991. At least we’ll have a new way to enjoy that catalog this June 15, when the Pixies release a comprehensive box set titled Minotaur. For $175, they’ll give you the Come On Pilgrim EP, Surfer Rosa, Doolittle, Bossanova, and Trompe le Monde, all with newly expanded artwork, plus a book and a DVD with a 1991 concert and all of the band’s videos. For $450, serious collectors can purchase a limited edition that includes all that as well as the five releases on audiophile-quality vinyl, a bigger book, more artwork, a Giclee print, and so on.
Both options sound very nice — though I’ll admit the prices feel a little steep for something that doesn’t involve any remastering or (so far) any confirmed bonus tracks. Still, visuals were such a critical part of those Pixies albums that it would be a mistake to underestimate how cool the new art could be. What do you say? Will you consider shelling out for either edition of Minotaur, or are you happy with that scratched-up CD you bought in 1990?
I got home from SXSW last night and drove straight from the airport to the office to pick up my copy of the "Super Deluxe" Ten reissue — which was released today in a variety of different complexities — and then drove straight home to devour it, without so much as collecting dinner or bothering to take my suitcase out of the car. And here is my snap judgment:
I can’t make a snap judgment on this! WTF are you talking about? In my possession I now have the original remastered version of Ten, a remixed version from Brendan O’Brien that includes a bunch of bonus tracks, a demo cassette, a wax paper packet of photos and stickers and ticket replicas, a composition notebook that serves as a photo album, a DVD of the band’s MTV Unplugged show, and three vinyl LPs, including the 1992 Drop in the Park concert. The record sleeve for the latter depicts Vedder soaring over a flannel-drenched crowd. I spent 20 minutes staring at it last night. I also spent most of my week in Texas driving around with the O’Brien remix advance in the car stereo, and am still finding new and exciting tweaks to these songs I’ve known for half my life. Absorbing all of this is going to take some time.
Additionally — and perhaps more shamefully* — I don’t own a record player, and neither Best Buy nor my local music equipment store were able to sell me one this morning. (Apparently the only people still in the market for turntables are DJs, and I do not require the technology for "scratching.") So while I wait for a Craigslist transaction to go through in order to properly review this thing, I open the floor to you, M-Dubs: Who’s got a copy? Who’s got an opinion? Share it in the comments! And meanwhile, check out this phenomenal hip-hop cover of “Why Go,” which incorporates nearly everything this post was about!
*please do not take the time to write in just to troll me for not owning a record player. I KNOW. and I’d make excuses, but whatever. the situation is being rectified. thank you for understanding.
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