Weezer’s self-titled debut, commonly referred to as the Blue Album will be reissued in two extensive box sets in November.
Released in 1994 and produced by Ric Oscasek of The Cars, the album features the UK top 20 hit ‘Buddy Holly’, along with the UK top 40 singles ‘Undone – The Sweater Song’ and ‘Say It Ain’t So’.
The 3CD 30th anniversary box set of the Blue Album (click to enlarge)
A 3CD deluxe set offers a remastered version of the album and 36 previously unreleased tracks including eight ‘Kitchen Tape’ demos and 22 ‘early practices’ and live recordings. Six BBC radion sessions are also included.
The box has lots of non-music ‘stuff’ in it – and is therefore expensive. It comes with a ‘weezine’ (with sleeve notes) lithographs, poster, sticker sheet, a “12-sided dice” and an enamel Bokkus pin.
The vinyl set is even more expensive. The content is spread across four vinyl LPs, a 10-inch EP and a seven-inch single. Very similar content to the CD box (lithographs, poster, etc.) but this version boasts “sweater embossed graphics along with a blue thread that’s pullable (& retractable)”. An even more expensive version ($400) of this vinyl box with an actual ‘sweater sleeve’ was available on the US Weezer shop but has sold out (100 units only!).
These 30th anniversary Blue Album box sets will be released on 1 November 2024, via UMR/Polydor.
SDEtv examines the new Bob Dylan and The Band box set which comprises 27 CDs of live performance from 1974. This is released on Friday, 20 September 2024.
Rhino is to reissue Talking Heads debut album Talking Heads 77 as a 3CD+blu-ray deluxe edition and as an expanded 2LP set.
The deluxe set features many outtakes/rarities and live tracks with the blu-ray featuring a Dolby Atmos Mix, along with 5.1 and hi-res stereo mixes. The four discs are packaged in an 80-page hardcover book with new sleeve notes written by Tina Weymouth, David Byrne, Chris Frantz and Jerry Harrison.
The 2LP vinyl is an AAA all-analogue cut and the bonus LP features the same 12 bonus tracks on CD 2 of the deluxe set.
Pre-order the 3CD+blu-ray edition from the SDE shop using this link or via the buttons below. It will be released on the 8 November 2024 via Rhino. You may be interested in adding the newly announced blu-ray audio of The Flaming Lips’Yoshimi Battles The Pink Robots to your order, which is released a week before Talking Heads.
(Love Goes To) Building On Fire (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Don’t Worry About the Government (Live at CBGB’s, New York, New York, 10/10/77) [Previously
Unreleased]
Take Me to the River (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
The Book I Read (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
New Feeling (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
A Clean Break (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
No Compassion (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Thank You for Sending Me an Angel (Live at CBGB’s, New York, New York, 10/10/77) [Previously
Unreleased]
Who Is It? (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Pulled Up (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Uh-Oh Love Comes to Town (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Psycho Killer (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Stay Hungry (Live at CBGB’s, New York, New York, 10/10/77) [Previously Unreleased]
Blu-ray
Atmos Mix of Talking Heads: 77
5.1 Mix of Talking Heads: 77
Hi-Resolution Stereo of Talking Heads: 77
LP 1: Original Album (AAA cut from Master Tapes)
Uh-Oh, Love Comes to Town
New Feeling
Tentative Decisions
Happy Day
Who Is It?
No Compassion
The Book I Read
Don’t Worry About the Government
First Week/Last Week… Carefree
Psycho Killer
Pulled Up
LP 2: Outtakes/Alternates/Rarities
Sugar on My Tongue
I Want to Live
(Love Goes To) Building On Fire
I Wish You Wouldn’t Say That
Psycho Killer (Acoustic)
Uh-Oh Love Comes to Town (Alternate Pop Version)
New Feeling (Alternate Pop Version)
Pulled Up (Alternate Pop Version) [Previously Unreleased]
I just wanted to give everyone an update on the SDE-exclusive blu-ray of Duran Duran’sDanse Macabre De Luxe that sold out so quickly over the weekend.
First off, I appreciate the feedback around the numbering which some of you left, and I agree that it’s a good idea to number this blu-ray as ’13a’ in the series (rather than ’29’ which was as announced). This has now been changed. The original number was ’13’ so it can therefore sit next to the original if you happen to have bought last year’s edition but if you do not want to purchase the De Luxe version of Danse Macabre there will not be a gap in your sequence. The next blu-ray to be announced will be #29.
Secondly, because it sold out so quickly that has allowed us to adjust production quantities at the very last minute. We will now do a run of 2,000 units, 500 more than originally intended. These are available now, but please observe a limit of one copy per customer, and no repeat orders, if you’ve already secured your copy. Thank you!
Danse Macabre De Luxe blu-ray will be released on 25 October 2024, via SDE Records. Order only from the SDE shop using this link or the button below. Full product details on the original post.
Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.
Elvis Costello’s 1986 album King of America has been remastered and expanded for a new 6CD box set called King Of America & Other Realms which is described as “97-track musical journey” and takes in unheard demos, live performances and tracks & rarities related to other albums recorded in America later in Costello’s career.
Discs 1, 2 & 3 in this set focus on King of America with the first offering a 2024 remaster (from the original tapes) and the second home to 17 demos. It seems incredible that there’s anything left after the expanded and double CD sets of the 1990s… but there is! Specifically, there’s six previously unreleased demos cut at Red Bus Recording Studios in London, in the months prior to the King Of America sessions in Hollywood which are mixed from newly discovered multitrack tapes. The third CD offers a 17-song Royal Albert Hall concert from 1987 in London, also mixed from the multitracks.
King of America & Other Realms 6CD super deluxe (click image to enlarge)
Costello himself has compiled this set (with Steve Berkowitz) which probably explains disc 4, 5 & 6 which are “a three-disc compendium of recordings and collaborations from across the last four decades, including previously unreleased demos, outtakes and live recordings”. For example, there’s some songs from Costello and Allen Toussaint’s collaborative album, The River In Reverse, almost half of Costello’s National Ransom record from 2010 (it was recorded in Nashville and Los Angeles) along with some demos and outtakes from the same album.
King Of America & Other Realms culminates with three new recordings recorded in 2024: ‘Indoor Fireworks’ (Memphis Magnetic Version), ‘That’s Not The Part of Him You’re Leaving’ with Larkin Poe and a recent arrangement of ‘Brilliant Mistake’. The final song is ‘That Day Is Done’ a song co-written by Costello and Paul McCartney for McCartney’s 1989 album Flowers In The Dirt, performed with the gospel group The Fairfield Four (this has been available before).
The 6CD super deluxe edition box comes with a 57-page booklet, home to a 35-page essay from Costello with the usual rare photos. The bookset type package is almost album-sized, at 12” x 11.5”.
King Of America & Other Realms is released on 1 November 2024 via UMe. Single LP remasters and 2CD sets are also available.
Duran Duran are to reissue their Halloween-themed 2023 album Danse Macabre as an expanded deluxe edition with extra tracks and new formats.
This revamped edition features three new bonus tracks including a fresh version of the band’s 1983 single ‘New Moon On Monday’ (now called ‘New Moon (Dark Phase)) with Andy Taylor playing guitar, a cover of ELO’s ‘Evil Woman’ and an instrumental called ‘Masque Of The Pink Death’.
With those extras, the album now becomes a 16-track edition with the other tracks as before, including covers of songs by Siouxsie & The Banshees (‘Spellbound’), Talking Heads (‘Psycho Killer’) and Rick James (Super Freak, which is mashed with Duran’s own ‘Lonely in Your Nightmare’). The three Duran originals are all excellent: ‘Black Moonlight’ (featuring Nile Rodgers), ‘Danse Macabre’ and the Arcadia-like ‘Confession In The Afterlife’.
This new De Luxe version is released on CD and as a special 3LP deluxe vinyl box set which is available only via Duran Duran channels, initially. This features four additional instrumental/spoken word tracks not available elsewhere and comes with ‘stuff’ including board, “metal planchette”, bespoke tarot cards, 4 art prints, and a booklet.
New cover art for the blu-ray and SDE Surround Series slipcase
There’s one more format: I’m pleased to announce that we’ll be doing an SDE-exclusive blu-ray audio of Danse Macabre De Luxe which features the three new tracks. The blu-ray last year sold out very quickly (before release date) and some of you may have missed out at the time. Also, it gives us an opportunity to add some extra content, above and beyond the three extra songs.
Here’s the audio streams on the SDE-exclusive blu-ray:
Danse Macabre De Luxe (16 tracks) in Dolby Atmos (48/24)
Danse Macabre De Luxe (16 tracks) in 5.1 Surround Sound (48/24)
Danse Macabre De Luxe (16 tracks) stereo mix (96/24)
Danse Macabre De Luxe (16 tracks) Instrumentals (96/24)
The disc also includes the following HD video content
‘Danse Macabre’ (video)
‘Black Moonlight’ (video)
‘Psycho Killer’ feat. Victoria De Angelis (visualiser)
‘The Making of Danse Macabre’ (15 min documentary)
As you can see, the blu-ray boasts new cover art. The new content – not on the previous edition – is the three bonus songs, the instrumentals and the videos. As before, the stereo and Dolby Atmos mixing has been done by Bob Clearmountain.
We’ve made 2000 copies of this blu-ray which is #13a in the SDE Surround Series. Pre-order only via the SDE shop using this link or the button below. The vinyl box set can be pre-ordered via the official Duran Duran shop for 25 October delivery, or via Amazon in the US for 29 November delivery (it should appear in UK/European retailers at a later date).
Danse Macabre De Luxe CD, blu-ray and vinyl box set is released on 25 October 2024, via SDE Records.
In November, Apple Corps / Capitol / UMe will issue 1964 US Albums in Mono, an 8LP vinyl box set of Beatles’ albums compiled for U.S. release between January 1964 and March 1965 by Capitol Records and United Artists.
The seven albums (The Beatles’ Story is a double) are as follows:
Meet The Beatles!
The Beatles’ Second Album
A Hard Day’s Night (Original Motion Picture Soundtrack)
Something New
The Beatles’ Story (2LP)
Beatles ’65
The Early Beatles
As is reasonably well known these days, Capitol rushed out many of these records which featured different track listings to any of the UK counterparts, often including what were non-album singles in the UK. This gave American audiences a similar, yet completely different, introduction to the to the Fab Four in th early part of their career. This continued until 1967 when Sgt. Pepper’s Lonely Hearts Club Band was the first album to feature an identical running order on both sides of the Atlantic.
All the albums in the new box set have been analog cut for 180-gram audiophile vinyl from their original mono master tapes. New vinyl lacquers were cut by Kevin Reeves at Nashville’s East Iris Studios. If you need more details, here you go: “These albums were cut for vinyl from the original master tapes using a completely analog signal path and with constant reference to first generation pressings of the original albums. They were made using a Studer A80 master recorder with analog preview & program paths, and an Neumann VMS70 cutting lathe originally installed in Capitol Studios in 1971. This specific all-analog cutting technique allows faithful representation of the full musical range and dynamics present on the original tapes”.
The albums also feature faithfully replicated artwork and new four-panel inserts with essays written by American Beatles historian and author Bruce Spizer. All the records in the box will be available separately, except for The Beatles’ Story
1964 US Albums in Mono will be issued on 22 November 2024 via Capitol / UMe.
CD 2 features Alexander O’Neal’s ‘Fake’, Robbie Neville’s ‘C’est La Vie’ (co-produced by Alex Sadkin) and Timbuk 3’s memorable ‘The Future’s So Bright,I Gotta Wear Shades’. A shout out for Westworld’s ‘Sonic Boom Boy’ and The Proclaimers’ ‘Letter From America’.
The last disc includes some great songs that were minor hits (in the UK) for major artists, including Bruce Springsteen’s ‘Tunnel of Love’ and Billy Idol’s ‘Sweet Sixteen’, alongside tracks that were never off the radio in Britain at the time, including Simply Red’s ‘The Right Thing’, Wet Wet Wet’s ‘Sweet Little Mystery’ and Johnny Hates Jazz’s ‘I Don’t Want To Be A Hero’. Good to see Wax’s ‘Bridge to Your Heart’ included and ABC’s ‘The Night You Murdered Love’ both included.
NOW Yearbook 1987 – Extra will be released on 11 October 2024.
Live album with 4 new studio tracks • Concert film in cinemas in Oct • SDE-exclusive blu-ray•Quick pre-order link
Tears For Fears have announced their first-ever, globally issued, official live album, Songs For A Nervous Planet. The album includes four brand-new studio tracks, including new single ‘The Girl That I Call Home’.
SDE, in collaboration with the band and Concord Records is bringing you an exclusive blu-ray audio of the new album which features a generous selection of Steven Wilson mixes including Dolby Atmos and 5.1 Surround Sound mixes.
The album features live highlights from the band’s 2022 TheTipping Point album as well as a generous trip through their greatest hits including ‘Mad World’, ‘Shout’, ‘Everybody Wants To Rule The World’, ‘Pale Shelter’, ‘Head Over Heels’, ‘Sowing The Seeds Of Love’, ‘Woman in Chains’, ‘Change’ and many more.
“I think a lot of people don’t know that we are a good live band, actually! They see a duo, and they think it’s going to be two people with a couple of keyboards and a bunch of backing tapes, and that’ll be it. Over the years, we’ve vastly improved since our heyday back in the Eighties.”
Curt Smith
Along with the new album, the band have announced a concert film shot and recorded at the scenic FirstBank Amphitheater at Graystone Quarry in Franklin, TN, during their sold-out global Tipping Point Tour Part 2. Tears For Fears Live (A Tipping Point Film) will be premiering in over 1,100 cinemas worldwide on 24th and 26th October 2024 (tickets go on sale Thursday, 19 September).
New concert film coming to cinemas for a limited run in October
Songs For A Nervous Planet is available to pre-order on CD and vinyl formats and as an SDE-exclusive blu-ray audio which will feature all 22 tracks (4 studio and 18 live) in the following audio streams:
Steven Wilson Dolby Atmos mix (48/24)
Steven Wilson DTS-HD Master Audio 5.1 mix (live tracks 96/24 – studio tracks 48/24)
Stereo ‘fold down‘ version of the Steven Wilson mix (live tracks 96/24 – studio tracks 48/24)
Standard Stereo Mix (48/24)
The fold down stereo is essentially the same as the band’s approved stereo mix, but being derived from the surround mix it has a different and less compressed mastering. Additionally, the blu-ray features exclusive instrumentals of the four new studio songs:
Say Goodbye To Mum And Dad – Steven Wilson Instrumental Mix
The Girl That I Call Home – Steven Wilson Instrumental Mix
Emily Said – Steven Wilson Instrumental Mix
Astronaut – Steven Wilson Instrumental Mix
This Songs For A Nervous Planet blu-ray is #28 in the ongoing SDE Surround Series and will released on 25 October 2024. It will be packaged similarly to previous editions and ships with a free, collectible SDE Surround Series slipcase.
Do not miss out. This product is a limited edition and has a 10 day pre-order window, which closes on 21 September 2024. Availability cannot be guaranteed after that date. The blu-ray is available only via the SDE shop. You can pre-order via this link or by using the buttons below. A specially-priced blu-ray + 2LP vinyl also available.
Queen’s self-titled 1973 debut album is being reissued across a number of formats next month.
What was called Queen now becomes Queen I for this campaign. It features the singles ‘Keep Yourself Alive’ and ‘Liar’. Neither were hits but nevertheless the album eventually achieved Gold sales in the UK and in the USA.
All formats of this album reissue see the album remixed in stereo for the first time and they all include the non-album track ‘Mad The Swine‘ (a bonus track on the 1991 Hollywood Records CD reissue) placed into the album as track 4, which is, apparently, what Queen originally wanted. It was left off at the time over disagreements with producer Roy Thomas Baker.
This is not just a remaster, this is a brand new 2024 rebuild of the entire Queen debut album, which, with the benefit of hindsight, we have re-titled QUEEN I.”
Brian May
May offers some more explanation of the goals of the remix: “All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the ‘live’ ambient sounds we would have liked to use originally. The result is Queen as it would have sounded with today’s knowledge and technology – a first“.
Queen I box set. Click image to enlarge.
The Collector’s Edition box set of Queen I is a 6CD+LP package and offers De Lane Lea Demos, previously released in 2011, but newly mixed here for the first time. There’s also a CD featuring unreleased Queen Isession out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring live performances of songs from this album (some previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One.
The box set comes with a 108-page 12-inch hardback book, and includes a poster and four photo prints. There are also 2CD and single LP editions, with the former offering a bonus disc of sessions (the same as CD3 in the box). A single CD version is also available.
Queen I will be released on 25 October 2024, via EMI. Other formats will be added below, as links come through.
3CD clamshell box with a wealth of unreleased material
Cherry Red are to release The Definitive Anthology 1977-1981 a new 3CD set that offers released and unreleased recordings from the brief time in the spotlight enjoyed by Bruce Woolley & The Camera Club.
Best known for his association with Trevor Horn, Woolley co-wrote ‘Video Killed The Radio Star’ with future Buggles Horn and Geoff Downes and notably also co-wrote Grace Jones’ 1985 single/album ‘Slave to the Rhythm’ (with Horn, Stephen Lipson and Simon Darlow).
Despite having created ‘Video Killed The Radio Star’ with Horn and Downes in 1978, Woolley bailed out of being in a band with the pair to form The Camera Club in 1979 with himself handling vocals, Dave Birch on guitar, Thomas Dolby on keyboards, Matthew Seligman on bass and Rod Johnson on drums. The band released their version of ‘Video Killed The Radio Star’ before Buggles (it wasn’t a hit) and issued their debut album English Garden in 1979 and went on to tour in England, USA and Canada. CBS refused to release their second album and the group disbanded.
The Camera Club version of Video Killed The Radio Star was issued before the Buggles version
This new 3CD clamshell box set features 69 tracks in total of which 41 are previously unreleased. It expands the first record and delivers tracks that were recorded for their second unreleased album and also includes two unreleased concerts.
The set includes a 28-page booklet containing rare and previously unseen images and a brand new annotation featuring quotes from band members Bruce Woolley, Dave Birch and Thomas Dolby.
The Definitive Anthology 1977-1981 will be released on 15 November 2024, via Cherry Red.
Six months before their debut album Déjà Vu was released, Crosby, Stills, Nash & Young played a concert at New York City’s legendary Fillmore East venue. Including both acoustic and electric sets, this is about to be officially released by Rhino as Live at Fillmore East, 1969.
The setlist includes tracks from CSN’s self-titled debut (issued in May of ’69) and Young’s Everybody Knows This Is Nowhere (both released in May ’69) as well as early versions of Déjà Vu tracks (‘Our House’, ‘4+20’)
Live at Fillmore East, 1969 is available on black and clear vinyl
Stills and Young compiled and mixed the original eight-track concert recordings with John Hanlon at Sunset Sound Studios in Los Angeles. This is available on CD and as a 2LP vinyl set (black and clear vinyl versions). The vinyl is an AAA (all analogue) lacquer cut so it should sound great.
Live at Fillmore East, 1969 will be released on 25 October 2024, via Rhino.
New version out before Christmas. Offers demos and new recordings.
The Pet Shop Boys 2024 album, Nonetheless, is to be reissued as a new expanded edition, on both CD and vinyl formats, in November.
2CD and 3LP black vinyl versions will feature the 10-track Nonetheless album, plus four new recordings. These consist of two cover versions: the David Bowie-penned “All the young dudes” and the 1967 soul song “The dark end of the street”. There are also two tracks originally recorded during the Nonetheless sessions: a version of the classical composition ‘Miserere’ by Gregorio Allegri and a Pet Shop Boys original titled ‘Adrenaline’. The original Japan CD bonus track called ‘Clean Air Hybrid Electric Bus’ is notable by its absence.
In addition to these four bonus tracks, this new edition of Nonetheless includes demo recordings of every song on the album which is a first for the Pet Shop Boys. All this adds up to decent extra content – and certainly significantly better than the original 2CD deluxe – although fans are certain to raise an eyebrow high enough to make the late, great Roger Moore look over with envy, at being offered a new expanded edition less than five months after the original album release. The fourth single, ‘Feel‘, isn’t even out yet!
Nonetheless Expanded Edition will be released on 22 November 2024, via Parlophone.
Tori Amos/Unrepentant Geraldines CD, Vinyl, Blu-ray
Tori Amos’ 2014 album Unrepentant Geraldines is reissued for its 10th anniversary and is #25 in the SDE Surround Series of blu-ray audios with Dolby Atmos Mixes. Final copies available via the SDE shop.
New album from Snow Patrol features the single The Beginning. The deluxe CD features the same 12 tracks as the standard offering but comes in hardcover ‘casebound’ book packaging.
Sony reissue Billy Ocean’s 1984 album on vinyl for its 40th anniversary. It features the singles ‘Caribbean Queen (No More Love on the Run)’, ‘Loverboy’ and ‘Suddenly’ which were all enormous hits in America and top 20 singles in the UK. This “ocean coloured” vinyl edition doesn’t offer any bonus material.
Steven Wilson’s No-Man and ‘The Albums Years’ partner Tim Bowness releases his eighth studio album and first for Kscope Records. The new album is described as “a vibrantly accessible & wildly experimental genre-blurring assault, embracing Industrial Rock, Electro Pop, singer-songwriter directness, haunted carnival soundscapes and more” and is available as a CD+DVD set which offers a 5.1 surround mix on the second disc.
Ahead of Suede’sDog Man Star reissue comes this 30th anniversary seven-inch picture disc of that album’s first single, ‘We Are The Pigs’. The non-album B-side ‘The Killing of a Flash Boy’ is up there with Suede’s very best.
Compare prices and pre-order
Suede
Suede: We Are The Pigs 30th Anniversary Edition 7" Picture Disc [VINYL]
Now That’s What I Call Music will continue their Yearbook ‘Vault’ series next month with 4CD and 3LP vinyl editions of NowYearbook Vault ’84 which pulls together ‘lesser compiled’ tracks from what is SDE’s favourite year in pop.
The 4CD sets (deluxe hardcover book with 28-page track-by-track guide and standard editions) feature 80 tracks, while the 3LP version (pressed on blue vinyl) includes 45 songs.
The full tracklistings can be found below, but feature plenty of familiar acts with – for some – less familiar singles. Artists include Heaven 17, ABC, Scritti Politti, Soft Cell, Bananarama, Culture Club, Level 42, Blancmange, Hazell Dean, Divine, Cocteau Twins, Siouxsie And The Banshees, Malcolm McLaren, Sparks, The Associates, The Cars, Go-Gos, Donna Summer, Bon Jovi and many more.
All formats of Now Yearbook Vault ’84 will be released on 4 October 2024.
New Order are to release a ‘Definitive’ box set edition of their 1986 album Brotherhood.
The band’s fourth studio album was released in September of ’86 and features the singles ‘State of the Nation’ and ‘Bizarre Love Triangle’.
The box set will contain the original album remastered, on CD and vinyl and also offers an extra CDof unreleased demos and rarities and two DVDs with rare live and TV appearances. The LP+2CD+2DVD package comes with a hardcover book with sleeve notes by DJ Dave Fanning.
As usual, there will be a series of 12-inch vinyl releases to coincide with the box. They will be ‘State of the Nation’, ‘Bizarre Love Triangle’ and the non-album ‘Touched by the Hand of God’. These records will be pressed on 180g black vinyl.
The Brotherhood box set and the 12-inch singles will be released on 22 November 2024, via Warner Records.
ABBA channel the spirit of their 1982 ‘best of’, The Singles: The First Ten Years, with a new collection called The Singles: The First Fifty Years, which brings the story of the Swedish group right up to date.
Admittedly, not much happened between 1982 and 2021, but nevertheless this perhaps pithily titled compilation features every ABBA single issued by Polar up until 1982, as well as the singles released from the group’s remarkable 2021 ‘comeback’ album,Voyage.
Issued in November 1982, The Singles: The First Ten Years was for a decade or the ABBA connoisseur’s hits collection of choice. ABBA’s Gold collection took over in 1992 and has never looked back, although The Singles The First Ten Years could always boast the inclusion of ‘The Day Before You Came’ and ‘Under Attack’ neither of which appear on Gold. Both songs were new at the time of The First Ten Years, with ‘The Day Before You Came’ released as a single to promote the compilation, while ‘Under Attack’ was unreleased at the time it was put out (but issued as a single a month later, in early December ’82).
The Singles: The First Fifty Years 4LP vinyl (click image to enlarge)
The Singles: The First Ten Years contained 23 tracks. However, on the new compilation The Singles: The First Fifty Years expands on the period between 1972 and 1982 with 10 extra tracks not on the 1982 compilation. They are:
People Need Love
He Is Your Brother
Love Isn’t Easy (But It Sure Is Hard Enough)
Honey Honey
Hasta Mañana*
Eagle
Angeleyes*
Lay All Your Love On Me*
Head Over Heels
When All is Said and Done*
The asterisked tracks were not issued as Polar Music A-sides, but were singles in some countries back in the day (‘Lay All Your Love On Me’ was a double A-side with ‘Voulez-Vous’ in some places). If you add the five singles from Voyage to the songs from the original era, that gives you a 38-track compilation which is being issued as a 2CD set or a 4LP vinyl package. The vinyl set includes a 24-page illustrated booklet including liner notes and “unseen” band images, while the CD booklet runs to 28 pages with the same content.
The typography on the new compilation is clearly is designed to echo the now 42-year-old collection, and one imagines that any hopes for a reissue of The First Ten Years are basically scuppered by this new set.
ABBA The Singles: The First Fifty Years will be released on 25 October 2024.
David Bowie’s 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars has been remixed in Dolby Atmos by Ken Scott and Emre Ramazanoglu and is released on blu-ray this Friday. SDE recently caught up with Scott, who of course co-produced the original album, to ask him more about the record and the Atmos remixing process.
SDE: Let’s talk briefly about the recording sessions for the album. You obviously had a busy 1971 because you did Hunky Dory as well...
Ken Scott: Amongst many others! It was busy, yeah. Look, it was a great period then, because the recording contracts were such that acts had to come out with an album every six months. So the recording process was so quick. Both Hunky Dory and Ziggy took two weeks each to record and a week to mix.
When it came to doing this record, was there any kind of brief from David in terms of the sound he wanted?
Nope! All he said was, it’s going to be more rock and roll than HunkyDory.
Is it true that a lot of this album was recorded almost live, in the studio?
No more than Hunky Dory or Aladdin Sane. It would bass, drums and sometimes electric guitar; sometimes acoustic guitar and sometimes piano. But the two main things that always went down first were bass and drums, and then it was whatever would work best on top of that. Sometimes rough vocals, but not always
You have mentioned before, I think, that David’s vocal performances were superb in terms of getting it down first or second takes. Is that very much the case?
Yeah, of the four albums [Ken made with David], I’d say 90 to 95 percent of of the vocals were one take, first take, from beginning to end. It’s just amazing.
Does that mean you didn’t really need to do much dropping in, to fix things?
None [laughs]
That’s quite surprising. He was obviously a brilliant vocalist, but was that unusual for for someone to be able to do that?
I’ve never come across another performer in the studio like that. From him, it was always a performance. In technical terms, they’re not perfect; they’re sometimes not quite in pitch, sometimes they’re not quite in time, but they’re coming from deep within him, and it’s a performance, and that’s what makes it work.
Did David always know when he’d got the one, or would he would he say, “let’s try it again”?
No. He knew. There were times when Ronno [Mick Ronson] and I would hear something when he was putting it down and we’d go “we’ve going to have to punch in for that” and then we’d hear it back, and it was absolutely intentional, and it worked perfectly.
When you were recording the album, did you feel like this might be the commercial breakthrough?
It was always a case of ‘who knows’. We weren’t specifically making records for a particular market or to sell. We were making records that we would be happy with and that we’d like to listen to, later. It was that kind of thing. And if other people liked them, that was great.
When David was in the studio, how much of this Ziggy spirit / character did he bring in, or was that not really there at all and he was just a working musician, recording a song?
Got it! [laughs]. Look, one of one of David’s biggest talents was the ability to get together a team that would give him exactly what he wanted, without him having to direct them too much as to what to do. When he wanted the American sound, he went over and he got a bunch of American musicians, American producers, and everything, and he’d just show them a song, and say, let it go, do what you do? That’s why you put them together. And it was the same with with The Spiders.
In terms of the technicalities, was this a 16-track or 8-track recording?
16-track.
And that gave you enough freedom? Were you having to bounce down? Did you have enough tracks to separate drums and do all that kind of thing?
It depends what you mean by separate drums. These days, every individual drum is on its own track, but back then, no, it would be stereo drums. We might have snare on its own track sometimes, or a bass drum on its own track, sometimes along with the stereo drums. But back then, one of the things of only having two weeks was you had to make decisions. And so we we decided what it was going to sound like, right from the get go, so I’d get the drum sound that would work, and we’d carry on from there.
The reason I mentioned that is, obviously that becomes pertinent later on with the 5.1 and the Atmos mixing and all that, which we’ll talk about shortly. Back to 1971: were you acting like an intermediary with the record label when they were checking up on progress?
The label never checked up on progress. And the management had signed David because they believed in him and put him in the studio to do what he does best, which is create,
But what about ‘Starman’? That was a late addition because someone, somewhere said, “Look, there isn’t really a single”.
The record company, RCA, once they got the finished thing, said it was great. The album’s great, but there’s no single. I’ve checked up on this, in terms of whether David had ‘Starman’ already written, but no, he wrote it specifically, a few days before we recorded it.
I find that very interesting. It’s like art meets commerce, isn’t it? It’s still brilliant song, but he kind of he delivered what they wanted.
Yeah, absolutely, yeah.
Now you’ve obviously revisited this album in the past. In 2003 you did a 5.1 mix and a new stereo mix
No, no, no. Hang on. Let’s get that bit straight. The record company made the stereo from the 5.1. I wanted my name taken off it because the stereo that was made from that was so bad. It was never meant to be folded down to stereo.
So it was just a fold down version from the 5.1?
Absolutely. And it’s awful! The 5.1 is not great either, but…
Well tell me a little bit about the 5.1 then, because that would have been the first time anyone was trying to do a surround sound mix with this particular record, so you would have been going back to multi-track tapes, dusting them down, baking them and all that kind of stuff.
Actually, the tapes didn’t have to be baked from that period.
It would have been just over 30 years later at the time you did the 5.1 mix [2003], did you choose to try and fix anything or change anything, or did you keep strictly to the whole EQ and the vibe of the original record?
We kept to the original, and one of the main reasons for that was when I was approached to do it by the label, I said, “Look, there are two ways we can do this. I can either modernise it a bit, change things, or keep it the same as it was”. They said “We’d love to have both, but we can only afford one, so keep it the same as the original”. So that’s what it was. It was the original, just [with elements] put in different places [channels].
Of course, David was still with us back then. How involved, or not, was he with the whole 5.1 at that time?
Not! He was never involved. He was only involved in mixing of two songs of the four albums I did with him. He didn’t like to hang out in the studio mixing. Hearing the same thing over and over again getting it right…
I guess he was so prolific in the 70s in particular, that disinterest in mixing gave him the freedom to move quickly onto the next thing.
Yeah, once he’d finished something, his part of it, he was off.
So you don’t reckon he would have even listened to the 5.1 anywhere at the time, in a studio in New York or something like that?
I don’t know. No idea.
The record labels over the years have always had a rather ‘ad hoc’ strategy towards Bowie and surround sound. Some albums have been done, like Station to Station and Young Americans and some have not. I always wondered whether if David had some issue with surround sound in general.
Not that I’m aware of
With the new Atmos mix. You’ve worked with Emre Ramazanoglu. Tell me a little bit about, roles and responsibilities and how the two of you work together on this project.
It was absolutely fascinating for me, because my background is as an engineer. I’ve tried a couple of times working with another engineer and just sitting at the end of the desk, as the real producers do, but I found that I would be listening to the sound too much… telling the engineer, “Okay, let’s hear a bit more high end on that cymbal.. no, no, down a bit”. I’d waste time doing that, whereas when I’m the engineer, I just reach over and do it. So that’s the way, over 60 years, I’ve generally done it. When they first brought up the whole Atmos idea, I thought “Oh, that’s great. I can do a lot of it at home and then just go into a studio to finalise it”, but as soon as I started to delve into Atmos, I realised there is no way a 75-year-old is going to ever learn all of that that quickly. So I realised I had to find someone, and I’d met Emre, we’d spoken about Atmos, and so we spoke [again], got together and it was bliss. We were both of the same mind. We knew exactly what was needed. It was great.
How long did it take then to work through the whole record?
It took 10 days. But I’d done a lot of work before that. I went into Abbey Road, number two studio and fed stems through to get room sounds and all of that kind of thing. Also, as I had control for a change – I wasn’t being told by the record company it has to sound like the original or anything like that – I insisted that I should be able to change it up. Look, the whole glam rock sound was very much the 70s. Now we’re in the 2020s and it needs to be different. And the main thing that characterised the whole glam rock thing was the very, very dead drum sound. And so I wanted to change that drum sound. So I added samples to what Woody [Woodmansey] was playing. I never got rid of any of Woody’s parts, I just added sounds to them, to bring it more to a modern type of [drum] sound. And so that took a while! Jesus, going through with the hi-hats, like matching up every single hi-hat… it gets boring to say the least.
Can you expand a little bit on this?
Several years ago, I did a drum sample library called Epic Drums. And what it was, I used five drummers that I’d worked with in the past to emulate the sounds as close as possible. One of the drummers was Woody, and so I I got to use some of Woody’s drum sounds from that to match up with what we already had. And just change it around a bit, make it not as dead as it was, just more open tom sounds, more open snare. And also, at the time, I hated cymbals. Now I quite like cymbals, but because the drums were stereo, I couldn’t bring up the cymbals without bringing up everything else. So I had to also put cymbals to match up to those [on the tape] so that it feels natural. Everything’s gotta be exactly in time with what what he played.
Did you take that approach with anything else, or was it just on the drums?
Just the drums, that’s the only one you can really do, because the guitar is the guitar. Yes, we would have added room sound to it and that kind of thing, so we would have changed it a little bit in that way, and maybe the EQ would have been slightly different, but a guitar sound, is a guitar sound, is a guitar sound, basically… whereas the drums can vary an awful lot.
I think I read an interview in the 90s, where David Bowie said looking back on it, he thought the sound on Ziggy was a bit on the ‘thin’ side. I’m sure he was really happy with at the time. But is that fair comment from him?
Absolutely fair, but it’s also slightly revisionist, because back in the day, because we were dealing entirely with with vinyl and you couldn’t have as much low end or anything as we could in the 90s with CDs, or as we can today with streaming and everything. So, yeah, at the time it was fine but as we got used to more low end it started to sound thin.
You’re making all these changes, but how does the Bowie estate figure in all this? I mean, they might be saying “well, hang on, Ken, we’re not sure we want you to do that…”.
No, no, they were right behind me all the way. Look, David was different to most artists in many ways, but one of the other ways that he was different was that he insisted that if anyone was going to do any work on on his past product – and I hate the word ‘product’, but that’s the general term – it had to be the original people. So I get to work on the four albums that I did with him, Tony Visconti gets to work on the albums he did. Harry Maslin on his, which is great because most artists don’t do that.
I’m glad you’ve said that because I was going to ask you that very specific question. That makes a lot of sense, and it’s obviously great that people like yourself and Tony are still around to do this.
And we can still hear! [laughs]
With the Atmos Mix, did you need to go down the road of using any AI to do anything such as separating music fused together on the same track?
No. Straight from the 16 track.
There’s a new stereo mix of the album on the blu-ray which – like the Atmos Mix – isn’t on the Rock ‘n’ Roll Star! box set. Did you want to do the stereo mix, partly because of the previous issue with the other stereo mix, and also to make the most of the improved drums that you were talking about?
Well, absolutely, but it initially came from the fact that Apple insist that their immersive audio matches up to the stereo mix. Now that’s fine if you’re dealing digital because it always runs at the same speed, but with analog tape, it never runs at the same speed twice. So matching up a stereo mix with a 16 track multi-track is almost impossible, unless you go in and you start to use things like Elastic Audio to move them into the same time and but then you lose quality doing that. So what I said was, “Look, I’ll do the Atmos, but for Apple, for everyone, I’ve also got to do a brand new stereo mix”. And we did it an unusual way because Emre said the normal way is to do the stereo mix first, get that perfect, then do the Atmos. But we did it the complete opposite way; we did the Atmos first, and then got the stereo from that, and it was amazing. It’s a fold-down, yes, but because of the way Emre sets everything up, it worked perfectly. I think there were two songs that we had to boost or cut the vocal like one dB, just to sit it in or bring it out a little bit more. And that was it. Otherwise, it was perfect.
Were there any songs on the album that you thought worked particularly well in Atmos?
I love ‘Rock and Roll Suicide’, the way that turned out… but just the whole album. I was bored to tears with it after 50 years, come on, and now I’m excited by it. I listen to it in the car all the time, the stereo version. It’s the response that I’ve received from fans that have heard it, and hi-fi enthusiasts and all that kind of thing. And Woody, the drummer. Woody said “When I heard it, I felt as if I was in the band”. And he didn’t mean that in a funny way. He meant that he felt as if he was in there with the band, the way it used to be. The whole album has come alive to me again.
Finally, Ken… You did a remix of ‘Life on Mars’ a few years ago when there was a some focus on Hunky Dory. Are there any plans to do Hunky Dory in Atmos or maybe Aladdin Sane? Has anyone talked to you about that?
No. You’d have to ask Parlophone about that.
Thanks to Ken Scott who was talking to Paul Sinclair for SDE. The Ziggy Stardust Atmos Mix is released on blu-ray on Friday 6 September. Order your copy from the SDE shop.
Tracklisting
The Rise and Fall of Ziggy Stardust and the Spiders from MarsDavid Bowie/blu-ray audio
2024 Dolby Atmos Mix, New 2024 Stereo Mix (192/24), original Stereo Mix (96/24)
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