The Second Disc

Expanded and Remastered Music News

Archive for July 19th, 2010

Don’t Do Me Like What?

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A quick heads-up from our friends at Pause & Play: Amazon has put up a listing for a deluxe edition of Tom Petty and The Heartbreakers’ Damn the Torpedoes to be released by Geffen and Universal Music Enterprises. There’s no info other than a release date (October 12), but hopefully there’ll be some good vault material present.

Damn the Torpedoes was The Heartbreakers’ first LP for MCA, following the sale of Shelter Records to the label. It featured the band’s first Top 10 hit, “Don’t Do Me Like That.” Hit the jump to see the original track list for the album, as well as some speculative extra tracks to include.

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Written by Mike Duquette

July 19, 2010 at 13:33

Reissue Theory: Cheap Trick, Squeeze Do-Overs

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Today’s installment of Reissue Theory is going to tread over familiar ground, in honor of two bands who turned out some great live sets last night at New Jersey’s State Theater: Cheap Trick and Squeeze.

Though both bands have their share of hardcore fanatics, they didn’t seem to be as vocal last night – at least one person was heard musing after the show that neither band catered to the greatest-hits crowd (Cheap Trick’s set mixed most of the favorite early tracks with new material – the band is still putting out albums, with The Latest (2009) being, well, the latest – while Squeeze bolstered their set equally with their best-known singles and a few lesser-known singles or album cuts, like “When the Hangover Strikes” or “Hope Fell Down” from the Difford & Tilbrook record.)

In spite of that crowd sentiment – and an admittedly poor sound mix for Cheap Trick – the show was a great night for all involved. And, unsurprisingly, it got your catalogue correspondent thinking about (what else?) back-catalogue affairs. Both of them have had an elevated presence in the reissue world. Cheap Trick’s Epic-era catalogue has been slowly but surely remastered and expanded by Epic starting in the late 1990s, finally picking up steam again a few months ago with a two-fer remaster of One on One (1982) and Next Position Please (1983) on the Friday Music label. Squeeze saw remasters of their first six LPs on CD with mostly unreleased pairs of bonus tracks in 1997; there have been more thorough expansions since of Argybargy (1980), Sweets from a Stranger (1982), Frank (1989) and Ridiculous (1995) (not to mention a set of live BBC recordings and an ongoing series of Squeeze demos released on Glenn Tilbrook’s Quixotic label).

But of course there’s always room for improvement. That reissue of One on One/Next Position Please uses the original LP track listing of the latter album, a playlist that not only removes two tracks that appeared on previous CD issues but also discounts the “Authorized Edition” overseen by the band for digital release in 2006, which reordered the album to the band’s original preference, unearthing two unreleased tracks in the process. It’s rather odd that, after working with their former label on a digital release, the band wouldn’t get such a set out on compact disc.

As for Squeeze, there’s the matter of Play, their grossly underrated 1991 effort. Play is sort of an odd duck as it seems to be one of the least-played offerings from the band (not counting the limp Domino (1998), which is the band’s last new record to date). It’s also one of the only Squeeze albums not released through Universal’s A&M, instead being owned by Warner’s Reprise label. (Universal has licensed some of the Play-era tunes for various compilations, notably Excess Moderation (1996) and Big Squeeze: The Very Best of (2002).) While it has in fact gotten a barely-there CD reissue through Wounded Bird Records, it added none of the B-sides that the band put out during this phase of their career, most notably the fan favorite “Maidstone.”

Thus, The Second Disc openly pictures a world where “Authorized” CDs of Next Position Please and Universal-owned Play reissues would be possible. They’d look a little something like what you’ll see after the jump.

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Written by Mike Duquette

July 19, 2010 at 12:03

News Round-Up: New Stage and Screen Releases from Kaper, Loesser and More

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There’s rarely such a thing as a Monday matinee, but that won’t keep The Second Disc from ushering in the week with news of a quintet of reissues from our friends at Film Score Monthly and Sepia Records. These exciting releases are sure to please devotees of both soundtracks and cast albums.

Film Score Monthly kicks things off with their new release of BUtterfield 8: Bronislau Kaper at M-G-M, Volume 1 (FSM 1309). Kaper rarely seems to be afforded the acclaim given to many of his contemporaries, and a major reason may be that too few of his scores saw soundtrack releases. FSM goes a long way in rectifying this with BUtterfield 8.  Kaper is deservedly held in high esteem by score enthusiasts for his work on over 150 films. A cursory look at those films shows his great versatility, ranging from the joie de vivre of 1958’s Auntie Mame to the high adventure of 1962’s Mutiny on the Bounty. Popular music fans may know Kaper as the songwriter of “Hi Lili, Hi Lo” from M-G-M’s 1953 Lili, which he scored, or “On Green Dolphin Street,” from 1947’s Green Dolphin Street. Six of Kaper’s most requested scores for the studio that had “more stars than there are in heaven” are being compiled in this lavish 3-CD box set: The Power and the Prize (1956), Her Twelve Men (1954), Somebody Up There Likes Me (1956), Ada (1961), True Loves (1961), and finally, the film that gives the box set its title and has been one of the most requested soundtracks to make a CD debut, 1960’s BUtterfield 8. The latter pushed Hollywood conventions of the day to the limits to tell its tragic story of an escort (Elizabeth Taylor, in an Oscar-winning performance) looking for elusive true love. In addition to the complete orchestral scores (a couple of vocal tracks had to be left off due to licensing restrictions), FSM promises numerous bonus tracks (including one from Mutiny on the Bounty, already released as a deluxe edition from FSM) and typically-detailed liner notes. All scores with the exception of Somebody Up There Likes Me are in stereo. The set is now available for order, so grab yours fast, as this is a limited edition of 1200 copies.

Across the pond, the U.K.-based Sepia label offers in September the CD debuts of three coveted London Cast Recordings and one collection. As with many (though not all) of Sepia’s releases, these three titles are made available as a result of the U.K.’s public domain laws. Frank Loesser wrote book, music and lyrics for The Most Happy Fella, and its 1960 London incarnation finally makes its CD debut as Sepia 1154. Art Lund reprises his role of Joey from the Broadway cast, and opera star Inia Te Wiata portrays the lead role of Tony. As the London album was not complete like Columbia’s recording of the Broadway cast, Sepia adds eight bonus tracks of cover versions from the score. This is a perfect disc to celebrate Loesser’s centennial and a fine companion to Sony’s recent Loesser compilation. While he will go down in history as the credited composer of the “James Bond Theme,” Monty Norman was also responsible for writing many British musicals. One such show, 1959’s Make Me An Offer (Sepia 1155), was co-written with David Heneker (Half a Sixpence) and starred Daniel Massey and Sheila Hancock. Sepia excerpts the production’s live television broadcast for seven bonus tracks, and adds one pop single as well. 1960’s Follow That Girl (Sepia 1156) was written by Julian Slade (Salad Days) and featured Patricia Routledge; its seven bonus tracks include pop versions and cut songs. Finally, Sepia turns its attention to the recordings of Millicent Martin, the stage star of Side by Side by Sondheim perhaps now best-known for her television roles on Frasier, Jonas and The Suite Life of Zack and Cody. The tracks forming Millicent Martin Sings (Sepia 1157) are of 1950s vintage, comprising standards such as “You Made Me Love You” and “I’ve Got It Bad (And That Ain’t Good).” While these are public domain releases in the U.K., Sepia can be counted on for the best sound quality possible and even participation from principals involved with the productions including Monty Norman himself.

For track listings for all five releases, sound samples for the BUtterfield 8 collection and discographical information where possible, click and join us after the jump! Read the rest of this entry »

Written by Joe Marchese

July 19, 2010 at 09:18