Edsel will release a new 10cc box set early next year called 20 Years 1972-1992.
The 14CD package features all the band’s studio albums, with the exception of 1995’s Mirror Mirror, and includes Live and Let Live, the double live album from 1977, and two additional CDs of non-album tracks and alternate/singles mixes. In total, 20 Years offers 145 tracks.
The band initially consisted of Graham Gouldman, Eric Stewart, Kevin Godley And Lol Creme and enjoyed commercial success during this period with ten top 10 singles and an impressive three number ones (‘Rubber Bullets’, ‘I’m Not In Love’ and ‘Dreadlock Holiday’). They also scored five consecutive top 10 albums (‘Sheet Music’, ‘The Original Soundtrack’, ‘How Dare You!’, ‘Deceptive Bends’ and ‘Bloody Tourists’).
The 20 Years box set contains 14 CDs and offers 145 tracks (click to enlarge)
Godley and Creme departed in 1976 but Steward and Gouldman carried on with various line-ups. The band ultimately disbanded towards the end of 1983 but continues as a touring band today with Graham Gouldman as the only fully-fledged original member. An 18-date world tour starts in March next year.
This box includes a 10,000 word essay on the band penned by Liam Newton, author of the band’s official biography, The Worst Band in the World.
20 Years 1972-1992 will be released on 26 January 2024 via Edsel.
Simple Minds‘ Acoustic in Concert will be reissued in December as a CD+blu-ray edition.
This is live document of a special show the band recorded for BBC Radio 2’s In Concert series back in 2017. The band performed their Acoustic album of “reimagined acoustic versions” almost in its entirety, along with cover versions like Make Me Smile (Come Up And See Me) (when they were joined by Steve Harley).
This concert was available as a CD+DVD combo at the time and on standalone blu-ray or DVD editions. Now for the first time CD+blu-ray is combined for a special dual-disc package. The blu-ray features 5.1 surround sound.
Ascoutic in Concert will be released on 1 December 2023 via
SDE explores Working Our Way Back To You: The Ultimate Collection, Madfish’s recent Frankie Valli and the Four Seasons mega-box which contains 800 tracks across 44 CDs and a vinyl LP. It comes with three books including a 144-page hardcover tome!
Working Our Way Back To You: The Ultimate Collection is available now and is limited to 2500 units worldwide. You can order a copy via the SDE shop using this link or the button below (full tracklisting is on the shop listing).
The 8CD box set edition of Neil Young’s first Archives release is being reissued in November.
Archives Vol. I: 1963-1972 was released way back in 2009 in three variants: Blu-ray, DVD and CD. The first two came in massive vertical boxes while the cheaper 8CD edition came in a slightly weird folding outer box known as a ‘Garypak’ because it was designed by Young’s long-term art director, the late Gary Burden. Each CD within the box has its own custom sleeve (check out the video at the bottom which will make this fairly clear).
The repertoire covers the first decade of Neil Young’s career, including material from the Squires, Buffalo Springfield, Crazy Horse, Crosby, Stills, Nash & Young and his early solo albums. In total, there’s 137 tracks on the eight CDs and at the time 13 of the songs had never been released before and a further 34 tracks were previously unreleased live or alternate versions. The box set comes with a 24-page booklet and a large fold-out Archives poster.
In the 14 years since Vol 1 we’ve only had one further volume, although Archives Vol 3 is expected in 2024. Anyhow Neil Young fans can’t complain about a lack of reissues, especially in recent years!
Archives Vol. I: 1963-1972 will be reissued on CD on 17 November via Reprise Records.
It’s tempting to wonder if other musicians don’t look on the career of Steven Wilson with a certain envy. He appears to do precisely what he wants, when he wants, completely unencumbered by the kind of pressures that are brought to bear on other artists: the vagaries of fashion, the pursuit of commercial acceptance, the demands and expectations of record companies or indeed of fans. He has an impressively rabid audience – big enough to send his last two solo albums into the top five and justify Wilson publishing a pretty elliptical autobiography, Limited Edition Of One; big enough to fill Wembley Arena to see the reformed version of his most famous band, Porcupine Tree, in 2022 – but they mostly seem willing to follow him down whatever musical path he chooses to take: they might be the polar opposite of the kind of rabid latterday pop fans, or ‘stans’, who apparently spend most of their time on social media angrily lecturing their supposed idols on what they can and can’t do.
His chart positions notwithstanding, Wilson always feels at one remove from the rock mainstream, perhaps an inevitable result of having launched his career in the early 90s doing pretty much the two least fashionable things you could do at that particular juncture of British musical history – reanimating the slick, sophisticated art-pop of the 80s with No-Man and playing distinctly prog-leaning rock with Porcupine Tree – but he clearly commands the respect of an impressively eclectic array of his fellow musicians. The remix version of his seventh studio album features contributions from the Manic Street Preachers, Interpol, Tears For Fears’ Roland Orzabal, and Mikael Åkerfeldt of Swedish metallers Opeth, their names among those on a list of collaborators that also takes in Elton John, Robert Fripp and XTC’s Andy Partridge, amongst others. Wilson is presumably the solitary thread that connects acclaimed Norwegian jazz trumpeter Nils Petter Molvær with rave/metal hybridists Enter Shikari.
More successful than ever, entirely on one’s own terms: it’s an intriguing trick to pull off nearly 35 years into your career. For all its high-minded background – described by Wilson as “cinema for the ears”, its roots lie in a dystopian short story included in Limited Edition Of One – The Harmony Codex suggests a prosaic answer to how Steven Wilson has achieved it. He’s just very good at what he does, whether that’s knotty prog instrumentals – the jittery King Crimson-esque ‘Impossible Tightrope’ lasts nearly eleven minutes, comes complete with free-blowing saxophone, a becalmed, piano-and-choral-vocals interlude and improbably starts to shade into Giorgio Moroder-esque disco towards its conclusion, without losing its sense of urgency or propulsion – or autumnally-hued acoustic rock: ‘What Life Brings’ is gorgeous, decorated with some faintly David Gilmour-esque guitar playing.
Very much the man you call if you’re a legendary rock or pop artist who wants an album remixed into spatial audio – he’s recently performed the 5.1/Dolby Atmos duties for everyone from Jethro Tull to Chic – Wilson has talked up The Harmony Codex as a modern example of what can be done with spatial mixing, setting up special immersive playbacks, where fans can experience the entire album in a “hemisphere of sound”. You can understand why – spatial audio currently exists largely as an adjunct to the reissue market, as its go-to guy, Wilson presumably wants to see it develop as an option for new music – and the videos online of people emerging from said playbacks looking like they’ve undergone some kind of religious epiphany tell their own story about how effective it all is. Nevertheless, there’a a slight danger in all of this. It runs the risk of making The Harmony Codex sound like a hi-fi demonstration album, something to show off your system with, which feels like dramatically underselling its contents. It’s a beautifully-produced album, but what really matters is the music: it’s worth noting that it sounds incredible as an m4a stream with nothing more advanced than a mobile and a pair of headphones for playback.
It’s an album that feels a little like a culmination, tying together the various strands of his musical past. As well as prog and Economy of Scale’s 21st Century reboot of the kind of progressive, experimental ’80s sound pursued on those albums where the era’s pop stars allowed their music to unfurl in directions far removed from the stuff that got them in Smash Hits – David Sylvian’sBrilliant Trees, Thomas Dolby’sThe Flat Earth, The Associates’Sulk – you get a feeling for his love of abstract electronics: the quietly menacing sound of ‘Beautiful Scarecrow’ isn’t a million miles removed from Coil’s late ’90s work.
If his penchant for metal isn’t as obviously reflected as it was in the albums Porcupine Tree made in the early noughties, there’s still a perceptible heaviness about the guitar on ‘Actual Brutal Facts’. You get a distinct sense of Wilson’s restless musical spirit: within seven minutes, opener ‘Inclination’ has moved from atmospheric, vaguely Middle Eastern motifs, to a pounding industrial rhythm track and claustrophobic sampled breathing, to epic-sounding rock, to ambient electronic instrumental, to something approaching a piano ballad. In theory, it should sound disjointed – like a bunch of interesting ideas thrown at the wall in the hope that some of them will stick – but it doesn’t, which is testament to Wilson’s skill as a writer, his hugely impressive way with a dynamic shift: the moment when the band kicks in is like the musical equivalent of a cinematic jump-scare.
And you also get an equally distinct flavour of Wilson’s uncompromising approach. Near the middle of the album, you encounter 10 instrumental minutes of beatless, drifting electronica. It’s beautiful, but there’s something almost confrontational about positioning it at the centre of the action, rather than as a mood-setting introduction or a lengthy coda, and something rather bullish about making it the album’s title track. It’s the action of someone who knows precisely what he wants to do, confidently declining to underestimate his audience. It’s the action of someone who’s carved themselves out a unique position within the musical landscape: listening to The Harmony Codex – or rather, absorbing yourself in its umpteen shifts in sound and tone and mood – Steven Wilson sounds like an artist out on his own, in the best possible sense of the phrase.
The Harmony Codex was reviewed by Alexis Petridis. It’s out today on Virgin Records.
Warner Records will issue a new Tina Turner compilation called Queen of Rock ‘n’ Roll, in November.
This sees her complete singles collection issued on one 3CD set for the first time, starting with ‘Whole Lotta Love’ from 1975 and going all the way up to the Kygo remix of ‘What’s Love Got to Do With It’ in 2020. A big 5LP vinyl box set, with the same content, is also available along with a cuts-to-the-chase 12-track single vinyl LP.
This set also includes a brand-new version of ‘Something Beautiful Remains’, reworked by producer and long-time collaborator of Tina, Terry Britten. It is retitled and becomes ‘Something Beautiful’.
Queen of Rock ‘n’ Roll will be released on 24 November 2023 via Rhino.
NOW Yearbook ’88 will be available as a deluxe4CD set in hardcover book packaging and a standard 4CD offering with card sleeve. Both feature 82 tracks. The 3LP coloured vinyl edition cuts this down to 45 tracks.
The first disc of NOW Yearbook 88 opens with George Michael’s ‘Father Figure’ and includes Duran Duran’s I Don’t Want Your Love, and ‘You Have Placed A Chill In My Heart’ by Eurythmics,’ Heart’ by Pet Shop Boys, New Order’s ‘Blue Monday ‘88’, a-ha’s ‘Stay On These Roads’, and Yello’s biggest hit to date ‘The Race’.
CD 2 has a PWL phase with Kylie, Bananarama, Jason etc. and follows with dance tunes from the likes of S’Express (‘Theme From S-Express’), and Yazz & The Plastic Population with ‘The Only Way Is Up’,
Great to see Springsteen open disc three (‘Tougher Than The Rest’ from Tunnel of Love) and it all goes a bit ‘rock’ for a bit with Iron Maiden, Bon Jovi and Billy Idol.
The Pet Shop Boys return for CD 4 with a great ‘one-two’ of ‘Left to My Own Devices’ followed by Eighth Wonder’s ‘I’m Not Scared’ which of course was written and produced by Neil Tennant and Chris Lowe. More late 80s pop follows from Dollar, Debbie Gibson, Tiffany, Bros, Taylor Dayne and more.
NOW Yearbook ’88 will be issued on 3 November 2023.
BMG follow up this years The KinksThe Journey release (from March this year), and continue the 60th anniversary celebrations, with Part 2, which will be available as a 2CD or 2LP package.
Compiled by the band, this collection is curated “according to themes inspired by the trials and tribulations of their journey through life together as a band since 1963”.
This release features music from Face To Face, The Kink Kontroversy, Something Else, The Village Green Preservation Society, Lola Versus Powerman and The Moneygoround, Muswell Hillbillies, Everybody’s In Show-Biz, Preservation Acts 1 & 2 and A Soap Opera.
It includes singles, B-sides, album tracks and, notably, six new Ray Davies mixes, three of which are previously unreleased live performances from the New Victoria Theatre, London in 1975. Check out the live version of ‘Everybody’s A Star (Starmaker)’ below (they’ve made a new video):
Speaking about this release, Ray Davies said: “I thought I knew everything about my songs until I was given the opportunity to put this record together. The new sequencing has enabled us to show the ‘big picture’ and give a more insightful back story about how our music evolved. I learned a lot about myself in putting this together.”
Audio has been remastered by Kevin Gray at Cohearent Studios in LA, overseen by Andrew Sandoval.
The Journey Part 2 will be released on 17 November 2023 via BMG and at the moment it’s only available via the band’s official shop, which also has a new selection of band merch, if that’s your thing.
Classic PWL extended mixes • 24 track 3CD set and 2x2LP vinyl • 26-track SDE-exclusive stereo blu-ray audio limited to 1000 units (quick pre-order)
PWL, the iconic and influential label founded by Pete Waterman, was a pop powerhouse in the late 1980s and early 90s with 18 number ones, sales of over 150m records and an entry in The Guinness Book Of Records for topping the charts with 11 different artists, including Kylie Minogue, Rick Astley, et al.
Now, for the first time, BMG is to release a deep dive into the world of PWL remixes, which extended their distinctive sound of catchy melodies, vibrant synths, and infectious beats.
PWL Extended Big Hits And Surprises comprises 24 tracks is available as a 3CD set and two 2LP vinyl packages (Vols. 1&2). The tracks chosen showcase the depth and breadth of the PWL output; along with classic 12-inch mixes of massive hits from Kylie Minogue (‘Hand On Your Heart’ The Great Aorta Mix, ‘I Should Be So Lucky’ Extended Mix and ‘What Kind Of Fool? (Heard All That Before)’ – 12″ Master Mix), Rick Astley’s ‘Never Gonna Give You Up’ (Cake Mix) and ‘She Wants To Dance With Me’ (Extended R’n’B Version) there are remixes from the likes of Agents Aren’t Aeroplanes, Shooting Party, Sigue Sigue Sputnik, Paul Varney, Boy Krazy and more.
SDE is offering an EXCLUSIVE edition of this releasewith all 24 tracks on one STEREO-ONLY blu-ray audio edition, plus two exclusive bonus tracks: David Ford’s Acid Mix of Stock Aitken Waterman’s ‘SS Paparazzi’ and the 12-inch mix of Delage’s ‘I Wanna Shout About It’. Naturally, this edition requires a blu-ray player connected to amp/speakers and/or soundbar to enjoy the 26 tracks, without flipping vinyl or changing CDs!
Packaging for this SDE exclusive is a gatefold digi-sleeve (the larger 142mm x 142mm size, used in Japan) with booklet and inner sleeve to protect the blu-ray disc. Design features exclusive dayglo yellow on black (3CD and vinyl editions are mirrorboard).
The SDE-exclusive, 26-track, stereo-only blu-ray audio of PWL Extended Big Hits And Surprises (click to enlarge)
The 3CD and vinyl editions should be widely available, the blu-ray edition is exclusive to the SDE shop and is strictly limited to 1000 units. You can order directly via this link or using the buy button below (max 2 per customer, orders for more will be cancelled). Check out our blu-ray audio page on the SDE shop for other titles.
PWL Extended Big Hits And Surprises will be released on 17 November 2023 via BMG
TECHNICAL NOTES: This blu-ray audio requires a blu-ray player. It will not play on a CD player!
To mark its 30th anniversary, the Pet Shop Boys will officially release Relentless, their six-track bonus/mini album that was available as part of a limited 2CD edition of their Very album (known as Very Relentless).
The largely instrumental selection was also issued as a coloured vinyl promo 3 x 12″ pack, which is thought to be limited to 500 copies.
The back of the new Relentless CD
The six tracks from Relentless have not been available since the original release (i.e. they didn’t turn up on Very‘s ‘Further Listening’ disc when it came to the reissue) and are now released as a standalone CD for the first time.
There’s also a limited yellow vinyl edition but that’s exclusive to the PSB’s web shop.
Relentless will be reissued on 20 October 2023 via Parlophone.
Eighties Scottish indie/pop band The Bluebells are to reissue their debut album, Sisters, in November.
This 1984 long-player contains their best known single ‘Young at Heart’, along with two other top 40 hits from the same album (‘Falling’ and the reissue of ‘Cath’). A 1993 re-release of ‘Young at Heart’ (thanks to a VW Golf advert) saw the single surpass its original peak of No 8 and reach the top of the UK singles chart, almost nine years later.
The album has been rejigged for this 2CD reissue, at the band’s request. It begins with an alternate version of ‘Everybody’s Somebody’s Fool’ (produced by Robin Millar) and the Elvis Costello produced ‘Aim In Life’ (once a cassette-only bonus song) is now track nine of the album. ‘Cath’ is now longer and ‘Some Sweet Day’ (another Costello production) is promoted to full album track (having been an extra track on the 12-inch of ‘Young at Heart’).
The Bluebells Sisters 2CD deluxe reissue (click image to enlarge)
There’s also 22 bonus tracks including non-album singles, B-sides and extended versions, including five previously unreleased tracks.
The 2CD deluxe comes with a 20-page booklet with notes by Lois Wilson (in conversation with guitarist Robert “Bobby Bluebell” Hodgens).
Sisters will be reissued on 24 November 2023 via Cherry Red. There is no vinyl release although Last Night From Glasgow reissued it on the format early last year (widget below).
80s super producer • Classic songs • Various artists • SDE-exclusive blu-ray with Atmos Mix (quick pre-order)
“The man who invented the 80s”, legendary producer Trevor Horn, presents Echoes: Ancient & Modern, a new album which sees him collaborate with some of his favourite singers to create newly-minted versions of songs he loves.
The album features 11 tracks, performed by Tori Amos, Seal, Iggy Pop, Marc Almond, Rick Astley, Andrea Corr, Steve Hogarth (from Marillion), Lady Blackbird, Jack Lukeman, Toyah Wilcox & Robert Fripp and Trevor himself.
The songs are iconic hits from the likes of Depeche Mode (‘Personal Jesus’), Pat Benatar (‘Love Is A Battlefield’), The Cars (‘Drive’), Billy Idol (‘White Wedding’) including a few signature tracks that Trevor was involved in the first time around such as Frankie Goes To Hollywood’s ‘Relax’, Grace Jones’ ‘Slave to the Rhythm’ and Yes’ ‘Owner of a Lonely Heart’.
This is very much a Trevor Horn album with guest vocalists, since as well as producing, Horn sings backing vocals, plays keyboards, bass and/or guitar. Fellow instrumentalists include his old friend, Lol Creme.
Building a feeling into a song is a tricky, intangible thing to do. There are lots of technical and psychological short cuts to recording a song, but none to actually make it feel real. That remains a studio secret.
Trevor Horn
One of the highlights of Echoes: Ancient & Modern is the opening number which sees Tori Amos singing rap star Kendrick Lamar’s much admired ‘Swimming Pool (Drank)’ (from 2012) which on paper sounds like it shouldn’t work at all but really does thanks to the introduction of a few simple chords and Amos’ stunning vocals. It’s a cinematic rendition which, as the producer notes, “sets everything up like it’s the beginning of a song cycle”.
I’m delighted to announce that Echoes: Ancient & Modern has been mixed in Dolby Atmos and that this spatial audio version will be released physically as an SDE-exclusive blu-ray audio, #14 in the ongoing SDE Surround Series. The Atmos Mix will be accompanied by a 5.1 mix, a hi-res stereo version and more. The contents are as follows:
Dolby Atmos MIx
5.1 Surround Mix
Hi-Res Stereo Mix
Trevor Horn ‘track-by-track’ exploration on video (22 mins)
SDE makes no apologies for repeating why these limited edition blu-ray products are highly recommended
It’s the only way to enjoy the Dolby Atmos mix of the album as a PHYSICAL PRODUCT
You don’t need to sign-up to a streaming service such as Tidal or Apple Music to hear the spatial audio mix
The Atmos Mix on the Blu-ray is NOT COMPRESSED due to streaming bandwidth restrictions
YOU OWN THE MUSIC, you are not renting it from a digital service provider
The Blu-ray audio is an excellent format for music and you don’t want to see it die off
SUPPORTING SDE with these initiatives is leading to similar collaborations with labels/artists and we are keen to bring your more in the near future!
The SDE-exclusive blu-ray audio version of Echoes: Ancient & Modern
Echoes: Ancient & Modern will also be available on CD and vinyl and all formats will be released via Deutsche Grammophon on 1 December 2023.
The pre-order window for the SDE-exclusive blu-ray edition of this album closes in 7 days. It’s only available via the SDE shop so use this link or the button below (‘pre-order’). It will ship with a FREE and collectible SDE Surround Series slipcase. Note: There are no longer any extra charges for shipping to the EU.
TECHNICAL NOTES: This blu-ray audio requires a blu-ray player. Decoding the Dolby Atmos mix requires a Dolby Atmos-certified soundbar or a Dolby Atmos-compatible AV Receiver/Amp. The Dolby Atmos mix will ‘fold down’ to 5.1 or stereo if a Dolby Atmos decoder is not detected.
Wilco’s thirteenth studio album, Cousin, sees the band back to their more familiar progressive and experimental rock territory. Interestingly, the album has been produced by Welsh singer/songwriter Cate Le Bon – the first time an outsider has been actively involved in a Wilco recording session for over ten years.
Green Day’s third studio album Dookie is reissued for its 30th anniversary (somewhat early, it was released in Feb 1994). 4CD and 6LP super deluxe editions offer unreleased demos, the 1994 Woodstock performance, studio outtakes and a Barcelona club show (unreleased). Lots of ‘stuff’ in the box sets including in the vinyl one a “Doggie poop bag” (surely a first – and hopefully last – for super deluxe edition). There’s indie-only coloured vinyl editions of the 6LP box and the standard single vinyl remaster is pressed on “baby blue” vinyl.
Steely Dan’s 1977 album Aja is reissued on vinyl. Features the singles ‘Deacon Blues’ and ‘Peg’. Remastered by Bernie Grundman from the “an analog, non-EQ’d, tape copy”.
As part of Demon Music’s Suede30 campaign, the label are issuing Suede’s first four singles as seven-inch picture discs, reproducing the original arresting cover images on the discs.
The fourth, and final, release in this series is ‘So Young’, originally issued on Nude Records on 17 May 1993. It reached No 22 in the UK singles chart.
The B-side to ‘So Young’ was ‘High Rising’ which didn’t appear on the Suede album. The new picture disc is strictly limited to 1000 units worldwide and is only available via the SDE shop and the official Suede store.
The ‘So Young’ seven-inch picture disc is released on 5 January 2024 via Demon Records. The far away release date is probably in part because ‘Metal Mickey’ (sold out) and ‘Animal Nitrate’ (still available) have both been delayed slightly. Pre-order ‘So Young’ via the shop using this link or the buttons (‘pre-order’) below.
The recently announced Thin LizzyVagabonds of the Western World reissue highlighted a number of formats, including 2LP purple vinyl with bonus tracks and a 3CD+blu-ray box set, with Dolby Atmos mix.
Well, it turns out there is also a remastered single vinyl edition of the album that is exclusive to Amazon that is pressed on yellow vinyl.
This is available to pre-order now with the same 17 November 2023 release date as the other formats.
Compare prices and pre-order
Thin Lizzy
Vagabonds of the Western World - Amazon Yellow vinyl exclusive
On Friday, Midge Ure’s 1985 album The Gift will be reissued as a 4CD deluxe edition and 2LP expanded vinyl package. SDE recently caught up with the accomplished songwriter for a chat about the reissue:
SDE: Was it easy to find all the content to form the 4CD deluxe set? And whose idea was it to reissue The Gift this year?
Midge Ure: It’s usually the record label, whenever an anniversary is coming up, or a significant amount of time has passed since the original recordings were released. Chrysalis approached us quite a few years ago now, looking at some of the reissues for the Ultravox stuff. Because record labels have the ability to re-release this stuff with or without an artist’s permission (laughs). But they came to us, because they knew we were always incredibly involved in the graphics, the packaging, and the advertising. They came to us and said: ‘We’d like to do it beautifully, we want to do it in a quality way’. We worked hand in hand with them. They do these beautiful box sets, repackaged with the original artwork. And of course, they have all the original recordings. They’ve spent a lot of time finding mixes that weren’t used, live recordings, outtakes, etc., and compiling all of this stuff, as well as doing Steven Wilson remixes on certain tracks. They did all the groundwork. All we had to do was go: ‘Yeah, this looks fantastic’. Because we wanted something we were proud of. That’s what we’ve done with The Gift.
The box set seems to be great value for money. Some labels overcharge for the same stuff we already have thrice over.
That’s why it HAS to be a quality product. There are fans who already have everything you’re associated with. You have to find it special. It has to be something you can be proud of. Fans will want to own it, touch it, read it, feel connected with it, and look after it. You’re quite right, some labels charge ludicrous prices for old hat.
‘If I Was’ from The Gift
Do you have your own archive and/or vault, akin to, say, Prince?
Here’s the problem: I’m an artist, which means I don’t take care of things very well (laughs). When it comes to my solo stuff, there was a technological transition from 2-inch tape, to digital recording, to MIDI, live computers and synthesizers. There were different formats. Being a technohead, I jumped on all of them. If someone were to give me a gazillion euro or pounds to find all the outtakes and the original masters for any of my solo stuff, I’d have to turn them down. I wouldn’t even know where to start looking! Whereas a record label, they monitor it, they keep it in archives, they’ve left it somewhere safe. Hence, on The Gift album, there’s no Steven Wilson remix. I have no idea where the [multi-track] recordings are, or what format they’re on.
Were you an early adopter back in the day? Did you embrace the CD, the MiniDisc, SACD, the works?
With Ultravox, we were working with Sir George Martin on the Quartet album. I remember George saying: ‘Sony/Philips are coming in to demonstrate a CD player. Do you want to pop in to the studio next door, at AIR Studios in London?’ Of course, it was Paul McCartney who was waiting to hear his demonstration. We were all squeezed in with Paul, we sat there, they described what a CD was, they put it in the machine that was plugged up through the massive, big mixing desk. They pressed play, and nothing happened. We were all kind of looking at each other. Someone leaned over and turned the volume up on the mixing desk. We were expecting to hear crackle or pop, as you would on a record or a tape. We heard nothing, and nearly blew the speakers. So yeah, the idea of audio excellence was always something we pursued, just as we pursued the latest synthesizer or drum machine or whatever technology. All that stuff was fascinating to us.
Did the resurgence of the vinyl format surprise you?’
It did. Retro novelty. We went through technological phases that enhanced the listening experience. Great, fantastic. But every time a different format came along, we lost something. What we lost, was the ability to pick something up, touch it, read it, hold it. To take vinyl out of the sleeve, hold it by the edges, put the needle on the groove. We missed all of that, because we ended up with ‘hit play on a phone’. You didn’t get the graphics, you didn’t get the lyrics. There was a great interview I heard a few years ago on BBC Talk Radio; A woman discussing music with her 15-year-old son. She asked him what his favourite artist was. He said he didn’t know. ‘Son, you must have a favourite artist!’’ So she asked him: ‘What about U2?’. He had no idea who U2 was. So she played him a U2 track, and he said: ‘I know that, I’ve got that on my phone’. He had the music, he knew the music, but he had no interest or any idea of where it came from, how it was made, who made it, the legacy, the wealth of information. It didn’t appear relevant to him. Now, there’s another generation discovering vinyl. [We don’t know] whether or not it’s because it’s cool or retro, or because they like the whole process of having to choose which album they want to listen to, having to take it out and put it on your turntable, put the needle on, and listen from start to finish, the way the artist made it and intended it. We missed something there. I think the resurgence is very interesting, it’s what people want.
The extended version of your song ‘Call of the Wild’ is a true testament to the power of 12-inch releases. Do you remember fine tuning the differences between the so-called radio edit and the extended mix?’
The extended versions – not dance versions or remixes, that’s a whole different thing – were always something we wanted to do when we had completed the mix. Instead of squashing all your clothes in a cupboard, you could lay them all out. ‘Listen to this bit!’ In an extended mix, you can solo things, you can put other things to the fore that were meant to be in the background. It’s like opening another door into the actual piece of music. You were allowed to do that. It was always fun to do, at the end of getting the radio mix or the album mix.
Instead of squashing all your clothes in a cupboard, you could lay them all out
Midge Ure on extended versions
While the desk was all set up, that’s when we started experimenting and playing around. And people liked them! Extended mixes are not done to the same extent anymore. It’s everything you hear on the normal record, but exposed more and given more space to shine and do its little thing. Which is weirdly what the Steven Wilson mixes did with the Ultravox catalogue. There were bits on the recordings that I don’t remember doing. For forty years, I haven’t heard that guitar!’ These things are very easily forgotten, because a lot has happened since. Strangely, it will sound vaguely familiar. Sometimes, you find yourself knowing where the change is going to come and knowing the melody that’s coming up next, even though you haven’t heard that melody for decades. You’re doing exactly what music does to people. It takes you back in time and places you right there, at that moment, when you were doing it. That memory is still in there somewhere, it needs to prodded and opened up.
The cover picture of ‘The Gift’ was taken by a photographer from the 1930s and 1940s called George Hurrell. He also photographed Paul McCartney [Press to Play], Queen, and Fleetwood Mac. He was in his eighties when he took your photo. Did he have ANY idea who you were? Or was it just another gig for him?
I have a lovely picture he signed to ‘Mitch Ure’. So, no, he had no idea [laughs] and why would he? I was a fan of his work for a long time. McCartney’s office got in touch with me to ask who had taken my photograph. Once that connection was made, then it spread out. Of course, he DID know who Macca was. But to find this man in his eighties who still took photographs the same way, with a big glass plate camera, the same style, the same approach. Take your face and transform it into something from before you were born, it was just incredible. It was a magic moment for me. When people ask about the highs in your career, they expect you to talk about Live Aid or other big things. It’s not always that at all. It’s moments like sitting in Hollywood, doing a three-hour session with George Hurrell, and seeing three months later, once he had done his magic, you get his prints. I couldn’t believe it.
McCartney’s office got in touch with me to ask who had taken my photograph
Midge Ure
Have you heard the fact that Japanese video game creator Hideo Kojima is a big fan of your work? A lot of younger gamers know your songs via Kojima.
That’s true. When Ultravox got back together again in 2010, we were playing London. Our agent called up and said: ‘There’s a Japanese guy with his entourage. They want to come up and say hi. They make video games.’ Hideo turned up, and through his interpreter, he explained that he wanted to do the final episode of ‘Metal Gear Solid’ and he wanted to use my version of ‘The Man Who Sold The World’. I said: ‘Sure’, and didn’t think anything else of it. A year later, the game gets sent to my office. Wow. He had written the story around his interpretation of my interpretation of Bowie’s song. It was amazing. The reaction it got was ridiculous. On the internet, gamers discovered this “new artist” Midge Ure. For a song that I recorded in 1982! When they discovered it, a lot of them found my other work. I have to thank Hideo for that renewed acclaim. Clever man. Lovely guy.
Thanks to Midge Ure who was talking to Julian De Backer for SDE. The Gift is reissued on 22 September 2023.
Duran Duran have today made available another song from their forthcoming album Danse Macabre. ‘Black Moonlight’ is one of three brand new songs on the album and features their old mucker Nile Rodgers as well as former band member Andy Taylor. Check it out, below!
Speaking about ‘Black Moonlight’, Nick Rhodes said: “Nile Rogers is a force of nature. When we get into a room, we start playing, and magic happens“. Simon Le Bon concurs, saying the song is a “classic Duran Duran-Nile Rodgers collaboration” adding “When Nile started playing his guitar in the studio, he really inspired everyone with his riff, and the song just kind of wrote itself.”
Danse Macabre will be released on 27 October 2023 Tape Modern via BMG. An SDE-exclusive blu-ray audio version with Dolby Atmos, 5.1 and hi-res stereo mixes of the album was available to pre-order from the SDE for a short period earlier this month. These are all but sold out, but to mark the release of ‘Black Moonlight’ we’ll make it available again for a short period. Head to the SDE shop to pre-order or use the button (‘pre-order’) below.
TECHNICAL NOTES: This blu-ray audio requires a blu-ray player. Decoding the Dolby Atmos mix requires a Dolby Atmos-certified soundbar or a Dolby Atmos-compatible AV Receiver/Amp. The Dolby Atmos mix will ‘fold down’ to 5.1 or stereo if a Dolby Atmos decoder is not detected.
R.E.M.’s eleventh studio album, Up, is being reissued for its 25th anniversary.
The 1998 album features the singles ‘Daysleeper’, ‘Lotus’, ‘Suspicion’ and ‘At My Most Beautiful’ and was the band’s first album without drummer Bill Berry.
The deluxe edition comes in 2CD and 2CD+blu-ray variants both with a previously unreleased, 11-song live set from the band’s ’99 taping for the TV series ‘Party of Five’. The blu-ray with the 3-disc edition is disappointing – it isn’t much different from the DVD-A issued 18 years ago. It includes the same 5.1 mix, a hi-res stereo mix and a few videos. There’s no new Atmos Mix, for example.
Both deluxe editions present the front cover with a new colour scheme. The 2CD comes in a clamshell box with mini-poster, while the 2CD+blu-ray looks like ‘mediabook’ style packaging.
A 2LP edition reverts to the standard blue/green/grey shades and offers the 14-track album across four sides of vinyl. Audio is remastered for all formats.
Up will be reissued on 8 December 2023 (was 10 November) via Craft Recordings.
Oasis‘ 1998 compilation The Masterplan will be reissued for its 25th anniversary, in November.
The album featured B-sides from the band’s first three albums (Definitely Maybe, (What’s The Story) Morning Glory? and Be Here Now) and such was the quality, particularly from the first two albums, it has become a firm fan favourite over the years, even though everyone bought the CD singles at the time!
All of the Oasis’ studio albums went to number one in the UK but The Masterplan fell short, peaking at No 2, despite selling almost 122,000 copies in its first week of release, with U2’s The Best of 1980-1990 keeping it off the top spot.
The 2LP limited silver vinyl edition of The Masterplan
The reissue features remastered audio and is available on limited 2LP silver-coloured vinyl, 2LP black vinyl and there’s standard CD version.
The Masterplan will be reissued on 3 November 2023, via Big Brother Recordings.