
From New Wave to the 'NOW', experience the thrill of NEW WAVE from it's beginnings in the late '70s to the modern bands so obviously influenced by it! So, if you grew up in the '80s and still enjoy discovering new sounds as well as rediscovering old favorites, then read on! PUNK! POWER POP! SYNTH POP! NEW WAVE! POST-PUNK!
Tuesday, August 11, 2009
PILOT/The Reissues; Available NOW on RPM/Cherry Red

DURAN DURAN/Rio (Deluxe 2CD Edition) and Live At Hammersmith Odeon CD/DVD

Original U.K. album mix U.S. album & EP remixes
1. Rio 10. Rio (U.S. album remix)
2. My Own Way 11. My Own Way (Carnival Remix)
3. Lonely In Your Nightmare (U.S. 12” Carnival EP)
4. Hungry Like The Wolf 12. Lonely In Your Nightmare
5. Hold Back The Rain (U.S. album remix)
6. New Religion 13. Hungry Like The Wolf (U.S. album remix)
7. Last Chance On The Stairway 14. Hold Back The Rain (U.S. album remix)
8. Save A Prayer
9. The Chauffeur
Disc 2
Manchester Square demos (recorded August 28, 1981)
1. Last Chance On The Stairway
2. My Own Way
3. New Religion
4. Like An Angel
Non-album U.K. singles & B-sides
5. My Own Way (original 7” version - U.K. single A-side, released Nov. 1981)
6. Like An Angel (U.K. single B-side, released Nov. 1981)
7. Careless Memories (live - U.K. single B-side, released May 1982)8. The Chauffeur (Sing Blue Silver) (U.K. single B-side, released Nov. 1982)
Alternate versions & re-mixes
9. My Own Way (Night Version) (U.K. 12" single A-side, released Nov. 1981)
10. Hungry Like The Wolf (Night Version) (U.K. 12" single A-side, released May 1982)
11. Rio (Night Version) (Dutch 12" Carnival EP, released Sept. 1982)
12. New Religion (Carnival Remix) (Japanese 12" Carnival EP, released Sept. 1982)
13. Hold Back The Rain (Carnival Remix) (U.S. 12" Carnival EP, released Sept. 1982)
Live At Hammersmith ’82! has long been sought-after by Duran Duran fans. Previously unreleased, the 1982 concert was filmed and recorded at London’s Hammersmith Odeon as Duran-mania was sweeping the world. The performance features signature hits including “Rio,” “Hungry Like The Wolf,” “Girls On Film,” and “Save A Prayer,” as well as the fan favorite “Make Me Smile (Come Up and See Me),” among others. The set’s DVD includes the full concert, as well as music videos for tracks from the Rio album and two previously unreleased ‘”Top of the Pops” TV performances from 1982.
CD
1. Rio
2. Hungry Like The Wolf
3. Night Boat
4. New Religion
5. Save A Prayer
6. Planet Earth
7. Friends Of Mine
8. Careless Memories
9. Make Me Smile (Come Up And See Me)
10. Girls On Film
DVD
1. Rio DVD Extras:
2. Hungry Like The Wolf Rio music videos
3. Night Boat My Own Way
4. New Religion Hungry Like The Wolf
5. Save A Prayer Save A Prayer
6. Planet Earth Lonely In Your Nightmare
7. Friends Of Mine Rio
8. Careless Memories The Chauffeur
9. Make Me Smile “Top Of The Pops” UK TV performances
(Come Up And See Me) Hungry Like The Wolf (May 13, 1982)
10. Girls On Film Rio (Nov. 18, 1982)
In a career spanning 30 years, Duran Duran has sold more than 100 million records around the world and has achieved 21 Billboard Hot 100 charting singles in the U.S.
Wednesday, August 5, 2009
GIRL IN A COMA-The Videos

Tuesday, August 4, 2009
SPAZ's LABEL PROFILE: Now Sounds

SPAZ: Before starting the label, were you an avid music collector? If so, what types of music were you collecting (genres, bands, formats, etc)?
STEVE STANLEY: Absolutely. I was collecting a lot of the stuff that I ended up reissuing over the past several years on Now Sounds and (earlier) on Rev-Ola. A lot of obscure ‘60s psychedelic pop, that—in the ‘90s—had virtually no collectability outside of a few Japanese fanatics. One of the first bands I discovered at a swap meet was Colours. They were five guys wearing what looked like clerical outfits with love beads. They had a song called “Brother Lou’s Love Colony.” This had to be good, I thought. 15 years later, the album saw its CD debut on Now Sounds and is a popular title for us.
SPAZ: What inspired you to start up a label?
SPAZ: How did you go about picking the name of the label?
SS: The name of the label is akin to my design firm (Now Designs), my band (Now People), and, of course, my LuxuriaMusic.com radio show (The Now Sounds).
SPAZ: When did the label first start operations?
SS: After having single-handedly A&R-ed, produced, annotated, and designed over 50 releases for Rev-Ola—including many of their best-selling titles—by artists such as Mark Eric, Claudine Longet, Bergen White (For Women Only made both MOJO and UNCUT’s Top 20 Reissues of 2004), and The Merry-Go-Round, I launched Now Sounds in late 2007. The first release (The Parade’s Sunshine Girl: The Complete Recordings) followed in March of 2008.
SPAZ: When you first set up the label, what were your initial goals? And do you feel you’ve achieved those goals so far?
SS: The goal from the beginning was to reissue special albums that for whatever reason had never before been given special treatment; to expose—and enhance—albums that, for whatever reason, have been forgotten by time but in retrospect stand the test of time. We try to uphold the endangered concept of pride of ownership. We produce 16-24 pages booklets for every release. We work hard to locate unpublished photos and other related ephemera... We include exclusive interviews with key participants. We source master tapes whenever possible, and however difficult. A lot of other reissue labels just use Google Image Search, check Wikipedia for their notes, run a disc dub and call it a day. That just isn’t good enough for Now Sounds.
SPAZ: How do you go about picking the titles that you release?
SS: It’s a varied process. In addition to my own knowledge, I draw upon suggestions from our customers and friends. Regardless, at the end of the day the music always comes first.
SPAZ: Is there an elusive album out there that you have been eager to reissue but haven’t been able to get the rights to?
SS: There have been quite a few. The most frustrating thing that happens frequently is when a major denies a request because of a pending project they themselves have underway. And when the final product arrives on the marketplace, it oftentimes is a shoddy release with no imaginative packaging, and few, if any, bonus cuts. (Read: the recent Hip-O-Select Emitt Rhodes box.)
SPAZ: Is there a particular artist (or artists) out there that you would love to have on your roster?
SS: Emitt Rhodes. Dave Clark 5. Any poor soul that recorded for Cameo Parkway.
SPAZ: If you had a choice, would you prefer to reissue an album as it was originally released or do you like the opportunity of adding bonus tracks?
SS: I always prefer to find bonus tracks to enhance the release and provide the consumer with a greater value. Unfortunately, the majors can make this very difficult.
SPAZ: Which format do you personally prefer?
SS: The compact disc for compatibility. The vinyl for packaging.
SPAZ: As a collector and music lover, how do you view the current music scene?
SS: I don’t really give it much thought. A recent trip to Australia afforded me the opportunity to hear the Sydney-based Sparkadia, who are pretty decent.
SPAZ: How do you view the idea of a future filled with download-only releases? Don’t you feel that collectors will always want to physically own the music that they purchase?
SS: I refuse to drink the Kool-Aid. No one wants to look under the Christmas tree and see a download card. To quote Cherry Red managing director Adam Velasco: “Collectors aren’t going to stop collecting.”
SPAZ: Do you see the resurgence in the popularity of vinyl growing?
SS: I certainly see it sticking around for the foreseeable future. There hasn’t been this much new vinyl available since the ‘80s. It’s my understanding that half of the albums on the Billboard Top Ten are available on vinyl. Amoeba Records (the biggest record store in Los Angeles) recently moved all of their enormous vinyl inventory to the very front of the store. That’s a sure sign that it’s a growing and vital commodity.
SPAZ: At the end of the day, do you have a particular personal favorite amongst your own label releases?
SS: The release for which I’m the most proud would have to be Sunshine Girl: The Complete Recordings by The Parade. Not only because it’s our best selling title, but because we were able to include a lot of excellent bonus material that had never before been heard by anyone outside of the band. With a lot of releases, the bonus tracks are usually expendable and tacked on as a sales gimmick. With The Parade CD, the bonus tracks actually enhanced the release.
SPAZ: What would you like people to know about the label?
SS: I like to think we bring an uncompromising commitment to excellence, with a strong track record to prove it. I like to create releases I, myself, would be willing to buy. Based in Los Angeles, we’re able to access exclusive repertoire from one of the most historically vital areas for 60s pop. We’ve also got a built-in promotional vehicle with my LuxuriaMusic.com radio show, The Now Sounds. It’s on every Friday Morning, 5:00 – 7:00 AM, GMT. We have podcasts too.
SPAZ: How can our readers contact the label with suggestions, comments and praise?
SS: I love hearing ideas from collectors and music fans. Please visit our website at www.nowsounds.co.uk.
Monday, July 27, 2009
THE HEADPHONE TRAVELER: Collectors' Choice Music
Everyone loves to laugh and Bill Dana's My Name... Jose Jimenez will make you laugh, even though you'll also feel a little uncomfortable. As funny as his character was (and is), Bill Dana would never be able to bring Jose Jimenez to life in today's overly politically-correct world, which is a real shame. This album features Dana portraying his Jimenez character in sketches lifted directly from the Steve Allen Show and it remains extremely funny throughout. Each sketch features the same types of jokes and set-ups, but is always a hoot. Old fashioned, clean comedy will never go out of style. Here is an actually sketch featured on the album...
That's it for today, folks! Stay tuned for some more groovy blog posts... and even more from The Headphone Traveler... coming soon!
Thursday, July 23, 2009
SPAZ's LABEL PROFILE: el Records

Over two decades after Mike Alway started el, they remain everything that a label should be: unpredictable, unafraid and unashamed by anything on their roster.
Here’s what others have had to say about the label:
"el records is a world where The Avengers' John Steed forever seems to be creative controller and Emma Peel works the A&R department."-Record Mirror
"The melodies, the phrasing, the enthusiasm and ambition are all here plus a mysterious sexuality, a tropic of Ruislip classy vulgarity."-Andy Darling, Melody Maker, 1988
"Alway is a man out of time-part Kim Fowley, part Kim Philby and el is his unashamed indulgence."-Bruce Dessau, NME, March 1988
"Alway is that rare breed - a man who knows a record should always look good."-Jane Solanas , NME, November 26 1988
MIKE ALWAY: Music captured my imagination in childhood. The first record I purchased was “She's Not There” by The Zombies in 1964. Its light jazziness rubbed off on me; an underlying style that stayed with me for decades. I was always inquisitive about music (without actually being a record collector) and suddenly found myself as the boy in school with the hip, alternative albums.
SPAZ: What inspired you to start up el? Was there a label you admired? Or perhaps a music genre that you felt was not well-represented on the market? MA: Verve was the label I most admired. I was impressed by the eclecticism of their mid-‘60s roster. There seemed to be a little of everything, all of it daring. The Mothers of Invention, Astrud Gilberto, The Velvet Underground, Gary McFarland and Ella Fitzgerald, all under one roof, struck me as remarkable and I sought to emulate that expansiveness in my own work.
SPAZ: How did you go about picking the name of the label?
MA: I wanted a word that was completely neutral. a word that meant nothing. A word that suggested possibility and that might look good as a graphic. Perhaps a word rather like dada? So, inspired by Luis Bunuel’s film about a Spanish aristocrat driven mad by jealousy, I decided on el.
SPAZ: When did the label first start operations?
MA: 1985, whilst still within the bosom of Blanco Y Negro. Within a year, el became owned by Cherry Red and remains that way today.
SPAZ: When you first set up the label, what were your initial goals? And do you feel you've achieved those goals so far?
MA: By the mid-‘80s, I was convinced that traditional rock music had run its course and had nothing more to say. So I determined to create a new vernacular and a completely original look and to project it through el. The emphasis of the songwriting was on Mediterranean culture, food and drink and forms of escapism through art and travel. I was heavily influenced by the Technicolor fantasies of Powell and Pressburger and the patrician and sometimes absurd comic humour of Terry-Thomas, Richard Briers and Leonard Rossiter (the latter specifically in the role of Reginald Perrin).
As for the look, we borrowed from the photographer Angus McBean, the cinematography of Jack Cardiff and the designers, Charles and Ray Eames.
I approached music as a director might film and, yes, we were successful in creating records that at very least could not possibly have existed on any other label. Choirboys Gas by Bad Dream Fancy Dress and The Camera Loves Me by The Would be Goods are two of titles of which I am most proud. They are quintessential el.
SPAZ: How do you go about picking the titles that you release?
MA: I would dream up a song title (say, "Cecil Beaton's Scrapbook"), offer a framework for a scenario and a suggest musical context (maybe a pastiche of Hermans Hermits with a touch of flamenco guitar or the Doors plus schoolgirls) and the writer would bring it to life.
SPAZ: Is there an elusive album out there that you have been eager to reissue but haven't been able to get the rights to?
MA: I’d love to properly restore, in all its glory, Dudley Moore’s brilliant score for the film Bedazzled. It simply IS the ‘60s.
SPAZ: Is there a particular artist (or artists) out there that you would love to have on your roster?
MA: Scott Walker, Robyn Hitchcock, Van Dyke Parks.... Keith Floyd (spoken word recipes with one song at the beginning of the album and one at the end)
SPAZ: If you had a choice, would you prefer to reissue an album as it was originally released or do you like the opportunity of adding bonus tracks?
MA: So long as the centerpiece of the restoration isn't obscured, I like to be as expansive as possible. Most el editions are of generous length. It's not merely the offering of value for money but the wish to bask in and celebrate the art of the subject
SPAZ: Which format do you personally prefer? (CD/Vinyl/Cassette/MP3)
MA: Much of el's reputation is based on the attractiveness of it's vinyl presentations.but CDs can also be beautifully realized.
SPAZ: As a collector and music lover, how do you view the current music scene?
MA: Today, the industry needs individualism more than ever. There should be more emphasis on creativity (of joy in arts and culture) and less on "attitude" and "celebrity".
SPAZ: How do you view the idea of a future filled with download-only releases? Don't you feel that collectors will always want to physically own the music that they purchase?
MA: There will always be a market for a superior three dimensional product so the design aspect of what we do is going to become ever more important.
SPAZ: Do you see the resurgence in the popularity of vinyl growing?
MA: As a nice artifact to have around the house. why not?
SPAZ: At the end of the day, do you have a particular personal favorite amongst your own label releases?
MA: Of the records el has re-issued, the 2008 anthology, Sketch for Summer by Gary McFarland and Gabor Szabo embodies much of what matters to me and is certainly up there amongst my favorites. Of the records we have created, the Bad Dream Fancy Dress album. It's intelligent and full of humour. It's like nothing else on earth.
SPAZ: What would you like people to know about the label?
MA: That an el record is primarily a sensual experience.
SPAZ: How can our readers contact the label with suggestions, comments and praise?
MA: Via el's parent company Cherry Red: infonet@cherryred.co.uk . I reply to all communications personally.
Other recommended el releases:
Too Good To Be True: The Very Best Of el Records
Saturday, July 11, 2009
MENTAL AS ANYTHING/Tents Up Review
Following 2001’s uneven Beetroot Stains album, drummer Dave Twohill was ousted from the band and vocalist/guitarist Martin Plaza and keyboardist/vocalist Greedy Smith remained the Mentals’ only original members. Their next release, Roadcase in 2002, suffered the same unfocused fate as the previous year’s album.
The band began to slowly recover by issuing Plucked in 2005, an album of acoustic renditions of their past hits, and they continued to tour. Now, seven years after their last real studio album, the band returns with Tents Up, an album that may not return them to their glory days (’81-’85), but is certainly their best album since 1995’s Liar Liar Pants On Fire.
Martin and Greedy remain masters of the pop song, able to knock out wonderful melodies and make it sound so damn easy. While there doesn’t seem to be a bonafide modern Top 40 chart hit on the album, that’s only because the band are sticking to their guns and recording a Mental As Anything album and, for the first time in a decade, aren’t trying to mess with the formula. “Moaning Lisa”, “Covered In Women”, “Lazy”, “She Could’ve Been Mine”, “Blues Guys” and “Karaoke Hostess” are all worthy additions to the band’s vast catalog.
On the band’s two previous studio albums, ‘new’ recruit David ‘Duck’ Barraclough was allowed to contribute songs and, while he was obviously talented, his style didn’t fit the typical Mentals sound. On Tents Up, his contributions (“I Know You Will” and “Easy”) fit quite nicely into the Mentals mix and are also standouts on the album.
While the band are not as musically playful as they were on albums like Cats & Dogs and Creatures Of Leisure, they make up for it lyrically with plenty of witty moments that hold up over repeated listens (“Loving you is like a rodeo/Bucking hard all the time”). Old mate Reg turns up to play guitar on a few tracks, sounding as great as ever (he’s now in Dog Trumpet with O’Doherty, his brother).
I must admit that, on first listen, the album sounded a bit too safe, but it really opens up after a few spins and takes the listener for a fun ride. Welcome back, Mental As Anything!"