Real Gone Music enters its first Spring with a potpourri of reissues that are definitely not garden variety, with releases ranging from hardcore punk to power pop to Motor City rock â€™nâ€™ roll, doo-wop and Summer of Love fixtures the Grateful Dead, all due in late May. The only album by seminal Los Angeles punkers The Germs, (GI), will be reissued alongside the D?rocsâ€™ self-titled album, Jerry Reedâ€™s The Unbelievable Guitar and Voice of Jerry Reed/Nashville Underground, Iâ€™m Not Me by Mick Fleetwoodâ€™s Zoo, plus twofers from Terry Knight & the Pack (Terry Knight & the Pack/Reflections), Chubby Checker (Itâ€™s Pony Time/Letâ€™s Twist Again), The Orlons (The Wah-Watusi/South Street) and Cameo Parkway Vocal Groups, Vol. 1. And if thatâ€™s not enough to put in oneâ€™s pipe and smoke, the Grateful Deadâ€™s Dickâ€™s Picks series continues with the six-CD set Dickâ€™s Picks Vol. 29â€”5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL.
Named after a breed of hog known for being great producers with oversized ears and genitalia, the D?rocs were the brainchild of Scott Mathews and Ron Nagle. Mathews had played at the Fillmore with Elvin Bishop at the age of 15, formed a band (Ice) with future Journey lead singer Steve Perry, and, with the guidance of music industry legends Jack Nitszche and David Rubinson, was one of the music industryâ€™s most sought-after session men and producers. Nagle, meanwhile, had been the main singer-songwriter and keyboard player in the Mystery Trend and had released a cult classic solo album produced by Nitszche, Bad Rice. Together, the two wrote songs for platinum-certified artists and in 1979 released their own LP, which received a five-star rating in Rolling Stone and scored some European hits. For the first time, with Mathewsâ€™ and Nagleâ€™s cooperation, the legendary album will be reissued on CD with no fewer than eight unreleased â€œbone usâ€ tracks, complete with liner notes by Gene Sculatti. In addition, Real Gone will manufacture a 500-unit, limited-edition vinyl pressing in an appropriately porcine shade of pink with the original track listing and album packaging intact. Power pop fans will agree itâ€™s time to bring home the baco.
Produced by Joan Jett, The Germsâ€™ (GI) is a seminal album not just in West Coast punk, but in punk rock, period, wellspring of the Darby Crash legend and start of the illustrious career of Pat Smear (Nirvana, Foo Fighters). Astonishingly, this album (originally issued on Slash Records) has been out of print on CD for years. The Real Gone reissue places the platter inside a four-panel wallet featuring the original album graphics (including lyrics) with additional photos by noted punk scene photographer Jenny Lens and new liner notes by Richie Unterberger featuring fresh quotes from drummer Don Bolles.
Real Gone Music will issue two classic late-â€™60s albums from Jerry Reed for the first time in CD: The Unbelievable Guitar and Voice of Jerry Reed/Nashville Underground. The titles of these, his first two records, tell the tale: Jerry was an unbelievably good guitarist and singer, and songwriter can be added to the list â€” at least Elvis thought so, as he covered both â€œGuitar Manâ€ and â€œU.S. Maleâ€ from Unbelievable (and hired Jerry to play guitar on both). Jerry returned the favor by writing an Elvis tribute song (â€œTupelo Mississippi Flashâ€) on 1968â€™s Nashville Underground, which lives up to its title by presenting a revelatory blend of country, rock â€™nâ€™ roll, folk, blue-eyed soul and even progressive pop. Though Reed was a protÃ©gÃ© of Chet Atkins, his eclectic taste and irrepressible personality â€” later on full display in the Smokey and the Bandit films â€” ensured that this record busted out of the countrypolitan mold that held sway in Nashville at the time. Both of these albums are must-listens for any alt-country and roots music fan. Chris Morris contributes notes that place the two albums in context of Jerryâ€™s incredible (and, to this day, underappreciated) career.
Terry Knight and the Pack hailed from the same fertile, late-â€™60s Michigan soil that spawned the MC5, the Stooges, the Frost, the Amboy Dukes, SRC, Bob Seger and the Last Heard and other likeminded outfits. And these two fuzz-laced albums, Terry Knight & the Pack/Reflections, originally released on the Cameo Parkway subsidiary Lucky Eleven, definitely fit right into that Midwestern mold â€” in fact, the band did notch several regional hits (â€œI [Who Have Nothing],â€ â€œYouâ€™re a Better Man Than I,â€ both collected here) but never quite broke through nationally. However, they remain famous among rock fans for one very important fact: this is the band where Mark Farner and Don Brewer of Grand Funk Railroad got their start (and Knight went on to manage the band). Jeff Tamarkinâ€™s liner notes chronicle the saga. Released by Real Gone Music and ABKCO Music & Records.
Though Iâ€™m Not Me, the 1983 album by Mick Fleetwoodâ€™s Zoo is commonly thought of as a Mick Fleetwood solo record, it really was the product of a band, and a helluva band at that. Aside from the drummer â€” who lays down the primal, bedrock rhythms for which he is famous â€” the denizens of this Zoo include Billy Burnette and Steve Ross on guitar and vocals, session bass player supreme Roger Hawkins and, on background vocals, none other than Christine McVie and Lindsey Buckingham (the band got its start backing Buckingham on a Saturday Night Live appearance). Though produced by Richard Dashut, producer of Rumors and Tusk, Iâ€™m Not Me was almost the anti-Tusk, a low-key affair showcasing the considerable singing and songwriting talents of Burnette, Ross and Hawkins. Given the talent assembled and the fact that it scored a hit in â€œI Want You Back,â€ itâ€™s odd that this engaging, infectious album has never been out on CD. The Real Gone reissue includes notes by Scott Schinder.
Also on deck are two albums from the height of the Chubby Checker twist phenomenon: Itâ€™s Pony Time/Letâ€™s Twist Again. Chubby flat-out ruled the charts in 1960 and 1961; the title cut of Itâ€™s Pony Time went to #1, his only #1 hit besides â€œThe Twist,â€ while Letâ€™s Twist Again, his fourth album, went to #11, shortly to be followed by three Top Ten albums in a row. Jim Ritzâ€™s liner notes document the Chubby Checker phenomenon; the two albums appear here straight from the original tapes in radio-ready, primed-to-party mono, just like they were originally released. The twofer is another â€œtwistâ€ in the Real Gone Music/ABKCO Music & Records partnership
Discovered by high school classmate Len Barry, The Orlons (Shirley Brickley, Marlena Davis, Rosetta Hightower and Stephen Caldwell) were probably Cameo Parkwayâ€™s most popular vocal group and certainly the labelâ€™s top girl group. This twofer presents their only two charting albums, their 1962 debut The Wah-Watusi and 1963â€™s South Street â€” each featuring Top Five title tracks â€” in their original, pristine mono, with notes by Gene Sculatti that include great quotes from band member Caldwell (he of that ultra-low â€œfrogâ€ voice). More classic, early Philly soul from Real Gone Music and ABKCO Music & Records.
The Philadelphia-based Cameo Parkway label was one of Americaâ€™s great independent labels for vocal groups, home to big stars like the Dovells, Tymes and Orlons. But right alongside the big names and big hits in the labelâ€™s vaults lie untold doo-wop treasures waiting to be discovered, and thatâ€™s what this 24-track collection, Remember Me Baby: Cameo Parkway Vocal Groups, Vol. 1 really delivers. While the big names are represented, with the Dovells and Tymes each contributing one track unreleased until this collection, itâ€™s the lesser lights on this collection that will shine the brightest for doo-wop and vocal group collectors, and with a full 23 out of the 24 tracks new to CD, and all but three from the original tapes, even the casual vocal group fan will find much to savor. Ed Osborneâ€™s liner notes illuminate the street corners from which these artists hailed. ABKCOâ€™s chief engineer Teri Landi produced the reissue.
Finally, Real Gone Music will issue the Grateful Deadâ€™s Dickâ€™s Picks Vol. 29â€”5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL. Start talking tours to any Deadhead you know and just say â€œSpring â€™77â€â€” chances are a big smile will steal across their face. Thatâ€™s because of all the road trips in the Deadâ€™s long history, arguably the one that saw the most consistently high level of playing was the spring â€™77 tour the band undertook in support of its forthcoming Terrapin Station album. And thatâ€™s why, out of the 36 volumes in the Dickâ€™s Picks series, only one, this one, is a six-CD set (there isnâ€™t even a five-CD set). Inside are two complete shows minus one encore (from the Florida show), plus unlisted bonus tracks from a 10/11/77 show in Norman, Okla., all impeccably recorded by Betty Cantor-Jackson. Highest among the many highlights from the Fox Theatre show are the version of â€œSugareeâ€ and the incredible segue from â€œPlaying in the Bandâ€ to â€œUncle Johnâ€™s Bandâ€ (also donâ€™t miss the unbilled, primal version of â€œNot Fade Awayâ€). But the Lakeland show just may take the cake â€” two medleys, a breathtaking â€œScarlet Begonias/Fire on the Mountainâ€ and a jaw-dropping â€œEstimated Prophet/Heâ€™s Gone/Drums/The Other One/Comes a Time/St. Stephen/Not Fade Away/St. Stephen/One More Saturday Night,â€ are the icing. This package, never previously available in stores, comes with original slip-cased packaging and in HDCD sound.