Smashing Pumpkins Announce 6CD + 1DVD Deluxe Reissue of 'The Aeroplane Flies High' (71 Bonus Tracks)

(click-through on box set to go to Amazon pre-order page)

As part of the continuing series of reissues of The Smashing Pumpkins’ acclaimed catalog via Virgin/UMe, the iconic alternative band is set to release four separate versions, all fully remastered, of their platinum-selling 1996 box set The Aeroplane Flies High: 6-CD +1 DVD; 5-LPs and Deluxe Digital and Standard Digital editions. The CD/DVD, 5-LP version and digital configurations will be released July 23.

The original The Aeroplane Flies High was a five-disc box set that featured expanded versions of singles from their acclaimed 1995 double album Mellon Collie & The Infinite Sadness, including “Bullet With Butterfly Wings,” “1979,” “Zero” “Tonight” and “Thirty-Three.” Mellon Collie achieved Diamond certification by the RIAA for sales of 10,000,000 discs and digital equivalent per disc (5 million copies of the double album).



These new limited edition box sets of The Aeroplane Flies High feature the original 33 track version—remastered by Bob Ludwig—and expanded to 104 tracks (90 audio and 14 audio-visual) encompassing unreleased demos, alternative versions and live recordings. In addition to expanded versions of Aeroplane’s original 5 discs, a 6th disc contains live recordings from the 1996 Mellon Collie tour, while the DVD content is taken from a July, 4 1997, performance in Belfort, France. Included is a 46-page book with liner notes written by David Wild, plus extensive track-by-track notes by The Smashing Pumpkins founder-singer-songwriter-guitarist Billy Corgan—for the original release’s 33 tracks. The box set has unique packaging with embossed foil wrap and twinkle stock for jackets.

Full Track Listing: The Aeroplane Flies High

CD1: Bullet With Butterfly Wings
Bullet with Butterfly Wings
...Said Sadly
You're All I've Got Tonight
Clones (We're All)
A Night Like This
Destination Unknown
Dreaming

Deluxe Edition Bonus Tracks:
Movers and Shakirs
Germans in Leather Pants
Millieu
Jackboot
A/Ab/E/B/F#
Rings
Ugly
Blaster Caster
Little Ditty
Verily I Say
New Waver
The Groover
Ravi Revi Roo
On The Loose
Slurry
- Tracks 8 – 22 Recorded at Gravity Studios, Chicago, IL, March 15, 1994 – March 16, 1994

CD2: 1979
1979
Ugly
Believe
Cherry
The Boy
Set the Ray to Jerry
Deluxe Edition Bonus Tracks:
Tonight, Tonight (acoustic version/instrumental rough)
Jupiter's Lament (billy solo)
Zero (8trk demo)
Marquis in Spades (8trk demo)
Have Love Will Travel (8trk demo)
Infinite Sadness (siamese outtake)
1979 (acoustic)
Aeroplane Flies High (acoustic snippet)
Take me Down (instrumental)
Star Song (dat mix/vocal rough)

CD3: Zero
Zero
God
Mouths of Babes
Tribute to Johnny
Marquis in Spades
Pennies
Pastichio Medley
LP Only: 7. Pastichio Medley (with fades)

Deluxe Edition Bonus Tracks:
By Starlight
Set The Ray to Jerry
Mouths of Babes
Cupid de Locke
Galapagos
To Forgive
Lily (my one and only)
Here is no Why
- Tracks 8 – 15 Recorded Live at the Double Door, Chicago, IL, February, 27 1995

CD4: Tonight, Tonight
Tonight, Tonight
Meladori Magpie
Rotten Apples
Medellia of the Gray Skies
Jupiter's Lament
Blank
Tonite Reprise

Deluxe Edition Bonus Tracks:
Stumbleine
Ugly
Meladori Magpie
God
Love
Pissant
Hello Kitty Kat
Special Winner's Song
I Just Wanna Make Love To You
- Tracks 8 – 16 Recorded Live at the Double Door, Chicago, IL, February, 21, 27, 28, 1995

CD5: Thirty-Three
Thrity-Three
The Last Song
The Aeroplane Flies High
Transformer
The Bells
My Blue Heaven

Deluxe Edition Bonus Tracks:
Silverfuck (live 7/10/96)

Deluxe Edition Live CD:
CD6: Live Inside the Dark Globe
Where Boys Fear To Tread Cleveland, Ohio 7.3.96
Zero
San Francisco, California 2.7.96
Fuck You / An Ode To No One
Stockholm, Sweden 4.10.96
X.Y.U.
Los Angeles, California 2.3.96
To Forgive
Washington, D.C. 1.6.96
Thirty-Three
New York City, New York 1.11.96
Tonight, Tonight
New York City, New York 1.11.96
Lily (My One And Only)
Washington, D.C. 1.5.96
Porcelina Of The Vast Oceans
Cleveland, Ohio 7.3.96
Jellybelly
Gent, Belgium 4.6.96
Bullet With Butterfly Wings
Los Angeles, California 2.3.96
By Starlight
Buffalo, New York 7.2.96
Bodies
Philadelphia, Pennsylvania 7.5.96
Silverfuck
Copenhagen, Denmark 4.9.96

Deluxe Edition Concert DVD:
Malsaucy Lake, Belfort, France, July 4, 1997
Glimpses
Where Boys Fear To Tread
Eye
Tonight, Tonight
Transformer
Thru The Eyes Of Ruby
The End Is The Beginning Is The End
By Starlight
Bullet With Butterfly Wings
Muzzle
1979
X.Y.U.
Porcelina Of The Vast Oceans
The Aeroplane Flies High (Turns Left, Looks Right)

As David Wild writes, “The Aeroplane Flies High is a trip, and perhaps fittingly for Billy Corgan, it was an exciting, exhausting and scary one that reveals a lot about the Smashing Pumpkins at this point in their musical journey.” Notes Corgan in the 46-page book: “What I like about The Aeroplane Flies High is that it’s almost the existential backwater of the Mellon Collie album,” Corgan says today. “Listening to the music gathered here is a little bit like seeing what goes on behind the walls of Disneyland. I’ve always been fascinated with places that are very well constructed, and finding out what’s really going on just over the fence. You look over that gate and notice that things on the other side are not well painted—or maybe you spot that guy dressed as some character sneaking a smoke on his break. At least for me, the behind the scenes feel heard on The Aeroplane Flies High represents something revealing not found on the main album. In retrospect, it’s a nice document of how we arrived at the apex of Mellon Collie—and also what standing on that apex did to us personally.”

As The Smashing Pumpkins get the fully remastered treatment via these reissues, the band is excited to be moving forward by creating new music. They will soon start recording the follow-up to 2012’s acclaimed album Oceania (Martha’s Music/EMI Label Services/Caroline Distribution). It was created by the band—singer/guitarist Billy Corgan, guitarist Jeff Schroeder, drummer Mike Byrne and bassist Nicole Fiorentino — at Corgan’s private studio in Chicago as a true album experience for listeners to fully immerse themselves in. It entered the Billboard Top 200 Albums Chart at No. 4 and earned the No. 1 spot on the Independent Albums Chart. Marking The Smashing Pumpkins’ 7th studio record, it is “an album within an album,” part of their 44-song work-in-progress Teargarden By Kaleidyscope. The band launched their 2013 world tour in Mexico this past March and is heading to Europe and Japan for summer dates through August 11.

Links:
Smashing Pumpkins

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Jesse Malin: Vintage Vinyl Posts Live Video from 2003 In-Store Performance / Only Summer 2013 Show @ Drew's, Ringwood, NJ

While most people remember Jesse Malin as either fronting D Generation or as a solo artist, I have fond memories of the 'in-between period' when Jesse, Howie and Rizzo formed PCP Highway.  PCP Highway later morphed into Bellevue and somewhere I have a mini-disc bootleg (how's that for dating myself) of Bellevue playing a free show at the Continental in late 2001.  Jesse went solo in 2002 and his debut disc, The Fine Art of Self Destruction, was released in the States in early 2003.

Vintage Vinyl (Fords, NJ) has started posted videos from past in-store performances and, most recently, posted a 60+ minute solo performance from Jesse (below) that was recorded on 3/9/2003.

According to Jesse's website, his only summer show is a 'house party' (Live @ Drew's) on July 20th in Ringwood, NJ.  For tickets - email drew@faresquaremusic.com.  For additional details on the New Jersey house party scene, check out this article that appeared last year in New Jersey Living. 

Links:
Jesse Malin

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Oliva - 'Raising The Curtain' CD Review (AFM Records) [Savatage, Trans-Siberian Orchestra]

Three years ago, I reviewed Jon Oliva’s last outing, Festival, (released as Jon Oliva’s Pain) and compared the disc to Alice Cooper’s mid-70’s work. That same comparison still stands with the follow-up to that disc, Raise the Curtain, which was released earlier this month on AFM Records. This time out, in addition to the Alice Cooper influences, Raise the Curtain touches on 70’s prog rock (Yes comes immediately to mind), jazz/fusion and roots-rock of John Lennon. This is an eclectic disc but fans of Jon Oliva’s past work will surely enjoy it.

This new disc is being billed as Oliva’s first solo disc and the impetus behind the ‘hiatus’ of Jon Oliva’s Pain (JOP) was the death of JOP guitarist Matt LaPorte. In an interview with Dan Fasciano of Metalholic.com, Oliva said: "After the passing of my dear friend Matt LaPorte, I felt very confused about the future of Jon Oliva's Pain. A week or so after Matt's service, I was speaking to my friend Dan Fasciano about what I wanted to do. He suggested that I come by his home where he has a full studio and we just hang out and record whatever I had that I wanted to demo." Making this a real solo disc, Oliva plays most of the instruments (which includes playing drums on three tracks) and other musicians include Fasciano on keyboards and piano and Chris Kinder (JOP) on drums.

This new disc starts with the title track, “Raise The Curtain”, which sounds like a classic Yes (the band) number and Oliva’s guitar lines could easily be interchanged with Steve Howe’s. Completely shifting gears on the next number, “Soul Chaser”, has a similar sound to the melodic hard rock of JOP. Not staying in one place for too long, this is followed by “Ten Years”, which has a swinging roadhouse groove and a classic rock chorus. One of the standout numbers on the disc is “Father Time”, which combines jazz/fusion instrumentals with a memorable keyboard solo, proggy guitar riffs and clean vocals. In addition to these numbers, there are the expected power ballads (“Soldier” and the dark and uneasy “I Know”) and the disc wraps up with two ‘John Lennonish’ cuts (“Can’t Get Away” and “The Truth”).



Like the classic 70’s prog-rock albums, most of the songs are multi-layered and the multiple guitar parts, keyboard and piano (along with non-traditional rock instruments like flute and harpsichord) are all intertwined. The interplay between these instruments and Oliva’s vocals makes for great headphone listening.

Many of Oliva’s recent discs have included music recorded by Criss Oliva (Jon’s brother and Savatage guitarist, who passed away in a car accident 20 years ago) and Raise the Curtain includes the last of Criss’ music. Oliva pays an unspoken tribute to Criss by including his white guitar on the front of the album.

Links:
Jon Oliva

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The 1975 Announce Two Headlining Shows at Bowery Ballroom in October (Vagrant Records)

(Photo: Dave Ma)

Manchester buzz band The 1975 have announced a 23-date US tour, which includes two headlining shows at Bowery Ballroom on October 9th and 10th.  The band made their NYC debut this past March with a show at Mercury Lounge and this upcoming headlining tour is in support of the band's full-length debut, which is due out on Vagrant Records in September.

Tickets for the Bowery Ballroom shows go on-sale this Friday, July 12th, at 12PM and the cost is $16 in advance and $18 DOS.




The 1975 Fall 2013 US Tour
Oct 5th - Short Mountain Distillery – Woodbury, TN
Oct 8th – The Sinclair – Cambridge, MA
Oct 9th – Bowery Ballroom – New York, NY
Oct 10th – Bowery Ballroom – New York, NY
Oct 11th – Black Cat – Washington, DC
Oct 12th – Union Transfer – Philadelphia, PA
Oct 13th – The Mod Club - Toronto, Canada
Oct 15th – A&R Music Bar – Columbus, OH
Oct 18th – Firebird – St. Louis, MO
Oct 19th – Lincoln Hall – Chicago, IL
Oct 20th – The Rave Bar – Milwaukee, WI
Oct 21st – Varsity Theater – Minneapolis, MN
Oct 23rd – Marquis Theatre – Denver, CO
Oct 24th – Kilby Court – Salt Lake City, UT
Oct 26th – Neumos – Seattle, WA
Oct 27th – Venue – Vancouver, Canada
Oct 28th – Doug Fir Lounge – Portland, OR
Oct 30th – The Independent – San Francisco, CA
Oct 31st – The Observatory – Santa Ana, CA
Nov 1st – The Fonda Theatre – Los Angeles, CA 
Nov 2nd – Vinyl @ Hard Rock Casino – Las Vegas, NV
Nov 3rd – Belly Up Tavern – Solana Beach, CA
Nov 4th – Club Congress – Tucson, AZ

The 1975 Press Bio:
Critics have been bemused and thrilled by the Manchester four-piece and their amorphous drifts between brooding art rock, crisp electronica, dance-floor R and B, and 80s gloss pop. “I don’t think it’s confusing,” says singer Matty Healy of his band. “Feeling a lack of identity and the searching within oneself to acquire a real understanding of what you want to be, that’s something that loads of people can connect with. It’s so strange that with music people want so many rules.”

Matty has known what The 1975 is for some years now, just waiting for the right moment to unveil their stories of lust, intoxication and the unabashed grittiness of modern youth.  “This record is a proper soundtrack to our formative years,” he says of their debut album, co-produced with Mike Crossey (Arctic Monkeys, Foals, The Kooks). “It’s everything that I know and every single song on the album, at some point, has been the most important thing in my life. I’ve spent my adult life working towards this album. It’s literally everything I am.”

Matty’s adult life’ started young. He picked up the guitar when his dad’s best friend died, leaving him two guitars. His confrontational attitude was in place early too - the private school kick-out (“I didn’t really care for being there, I got in a couple of fights. I got asked to leave, I never actually got expelled...”) transitioning to public school at the age of fourteen he started drumming in a punk band with eventual band mates Adam Hann (guitar) and Ross MacDonald (bass).

One day, “This weird kid turned up at school, he was really tall but he looked about nine and was this odd character”. This was George Daniel, drummer and soon to be Matt’s co-songwriter and “My kind of boyfriend. Well, not really, but he might as well be, we don’t really leave each others’ sides.” The pair bonded over their dislocated childhoods – Matt moved between London and Newcastle while George was born in Belgium and grew up in Seattle – and the sense of isolation they felt in their new homes in the Manchester suburbs.

Adam had heard of a “hippy council worker” who rented out local space for kids to play shows, and the band formed in order to get involved. “Everyone would go and get drunk and it was a proper scene at a time when there wasn’t really much going on.”  They developed an artful sophistication and electronic adventurism to their punk rumbles, it was an intriguing track called ‘Robbers’ that earned them a manager in 2009.  Based around a violent, cinematic tale of lust on the lam. “I got really obsessed with the idea behind Patricia Arquette’s character in True Romance when I was about eighteen,” Matty recalls “That craving for the bad boy in that film it’s so sexualized, and the gore with the sexual lust really merges together. It was something I was obsessed with.”  For two years, they relentlessly toured the country and interest began trickling in. But the band, operating under a variety of names, waited. They’d seen contemporaries get snapped up, restyled and spat out by the music industry and wanted everything to be in place– the sound, the songs, and the aesthetic – before they announced their arrival.

“We said ‘we’re not desperate to be famous, we’re not desperate to be in a massive band, let’s do it our way, on our terms, and make sure that our projection of ourselves is controlled by us’.” Throughout 2011, as their cache of self-produced demos grew to album size they decided to sign to Dirty Hit in the UK and spent 2011 touring and getting the songs just right live.  Though 1975 was the year The Sex Pistols formed and Talking Heads played their first gigs, the moniker has nothing to do with the date itself. Matty found it in the back of a beat-era book given  to him by a “gregarious artist” he met at a yard sale in northern Majorca at the age of 19. “He showed me round his house, it was like a sixties bizarre haberdashery. He had photos of him with Hendrix, I thought this guy was fucking crazy!  He gave me loads of beat generation literature, Kerouac and stuff. When I went home I read them and in the back of one of them there was all these mental scribblings, it was almost suicidal, and it was dated at the bottom ‘1st June, The 1975’. I was quite freaked out when I read it, the use of the word ‘The’ really stuck with me. It was the perfect band name.”

The newly monikered group headed to the studio in December of 2011 resulting in the‘Facedown EP’ - the first in a trilogy of EPs to be produced by the band, released in August of 2012. ‘ Sex’ shortly followed in November of 2013. The final EP installment is ‘Music For Cars', which was co-produced by Mike Crossey with the band. The band and Crossey quickly reunited to work on the band’s debut  album, which will be released in September of 2013.

Links:
The 1975

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Last Shop Standing: The Rise, Fall and Rebirth of the Independent Record Shop - DVD Review (Blue Hippo Media)

Having spent a good chunk of my youth in East Village indie record stores, the DVD The Rise, Fall, and Rebirth of the Independent Record Shop struck a familiar chord and brought back a nostalgia for the gloriously wasted afternoons of the past - drinking and record shopping on St. Mark's Place. Paul Weller, who is interviewed in the film, poignantly sums up the experience of anyone who ‘grew up’ in a record store by saying that the indie shops became “became meeting places, almost like a community center really”.

This documentary is based on author and former label representative Graham Jones’ 2009 book Last Shop Standing: Whatever Happened to Record Shops? and the DVD contains the 60 minute main feature along with 70+ minutes of outtakes. This rise and fall story is a ‘feet on the street’ narrative told through the eyes of well-known UK musicians (which include Billy Bragg, Paul Weller and Johnny Marr) and numerous indie record shop owners.

The main feature starts with “Act 1: The Rise”, which describes the rise of the UK indie records due to a demand for US imports (Elvis Presley, Bill Haley) and this demand continued through the first British invasion bands and the rebirth of the indie music scene that came with the punk era. This act though ends on a hesitant note with a mention on how machines in indie record shops were used to compile chart positions so label reps were ‘gaming’ the charts by giving records away.

“Act 2: The Fall” is a very familiar story to anyone who remembers the pre-90’s vinyl era as the record labels killed vinyl to push the CD format…and the death of vinyl was followed by the iTunes/download era of music. To re-phrase a quote from Richard Hawley (Pulp) – there is a time and place for all of these different formats of music and all could have co-existed together but the industry threw the baby out with the bathwater.

During this act, Jones cites the statistic that, in the 80’s, there were more than 2,200 UK indie record shops and by 20009, there were only 269 shops left. Johnny Marr puts forward an interesting hypothesis that the indie shops didn’t close due to the consumers’ shift away from vinyl but rather it was the industry’s forced death of vinyl that killed the record shops.

“Act 3: The Rebirth” walks the viewer through how the indie record stores have innovated to survive. Indie stores are now selling tickets and food (the shop Pie and Vinyl is highlighted) along with regularly having in-store performances and being an active part of their local music scene. The introduction of Record Store Day is given a lot of positive press for bringing people back into the indie shops and artists like Nick Cave are cited for releasing indie-store only pressings. Johnny Marr attributes some of this rebirth to how vinyl records now mean something to kids in a way it didn’t 8 – 9 years ago.

The bonus features are predominately the unedited interviews with the musicians and shop owners whose memories form the basis for this film. Unlike other outtakes reels that I’ve seen which generally have a lot of filler or (boring) director commentary, the interviews with Paul Weller, Johnny Marr, Billy Bragg, Richard Hawley and Sid Griffin (who doesn’t appear in the main film) are well worth watching.



Links:
Last Shop Standing

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King Crimson Posts ProjeKct Six (Fripp/Belew) Rehersal Track 'Persian E' as Free Download (Recorded 10/2/06)

DOWNLOAD: King Crimson/ProjeKct Six - "Persian E"

I had gotten out of the habit of checking Robert Fripp's DGM Live for free downloads of Fripp/King Crimson related rarities but happened to take a look last night as was pleasantly surprised by this most recent freebee. 

ProjeKct Six was the last of the King Crimson side projekcts prior to Crimson briefly reforming in 2008 and this projekct featured Fripp on guitar and Adrian Belew on drums.  The track, "Persian E", which is posted as a free download is described as "[t]aken from the rehearsals at Adrian Belew’s studio, ProjeKct Six sketch out some of the areas they’d be visiting as support to Porcupine Tree later in the month. The mood is somewhat restrained here but there’s a certain intensity present in the wreathes of soundscapes which billow and hover around Belew’s straight-ahead beats. Fripp’s soloing is on slow-burn mode rather than being set to “incinerate” but an engaging little toe-tapper from the team nevertheless."

Links:
DGM Live / King Crimson

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Dead Boots (featuring Adrian and Tony Perry) are Playing Mercury Lounge on July 17th with Midnight Spin

While Boston's Dead Boots are making their NYC debut at Mercury Lounge on July 17th, the band came through town a few times over the last year under their previous name, TAB the Band.  Most recently, TAB the Band opened for both Jane's Addiction at Terminal 5 in late 2012 and, earlier this year, opened for the The Annuals at Mercury Lounge.

Dead Boots features Aerosmith's Joe Perry's two sons Tony (guitar) and Adrian (vocals/bass) along with Ben Tileston (drums) and Louie Jannetty (guitar).  While the Aerosmith connection might lead one to make assumptions about the band's sound, the initial tracks that I've heard from Dead Boots' debut album, Verónica, have a glam rock sound that is comparable to bands like Cheap Trick and T. Rex.  

For the show at Mercury Lounge, Dead Boots are headlining the late show.  They take the stage at 10:30PM and Brooklyn's Midnight Spin are going on first at 9:30PM.  Tickets are $10 in advance and $12 DOS.  Dead Boots have posted to their Facebook page that "Everyone who comes out to our 7/17 show at Mercury Lounge with Midnight Spin gets a FREE copy [of Verónica]".



A rock and roll band with an enduring fondness for pure pop and a wicked, sly sense of humor, Dead Boots defy easy categorization. They love The Beatles and Cheap Trick as much as T-Rex and The Rolling Stones, yet as much as Dead Boots draw on classic rock influences, they are a vibrant, contemporary band that blends the vigor of punk, the might of arena rock and the melodicism of power-pop, earning the admiration of Isaac Brock of Modest Mouse, Perry Farrell of Jane’s Addiction and J Mascis of Dinosaur Jr, alt-rock stalwarts who requested the band as their opening act.

Dead Boots may be the best example of how great things can come from no expectations. Brothers Adrian and Tony Perry began the group almost as a lark. “I grew up in LA,” explains Adrian, “and whenever I came to visit Tony, we’d always record stuff for fun.” Adrian had a few serious bands while he was in high school and college, continuing to occasionally play with Tony. “A few years ago we said, let’s mess around and record some songs,” remembers Adrian. "Tony invited his friend Ben Tileston to have real drum tracks. We ended up writing nine songs in a week -- it was very organic. Before we knew it, we had a show booked.”

Since then, the band has toured extensively in the US, Canada and UK, supporting acts such as Stone Temple Pilots, Cage the Elephant, Black Rebel Motorcycle Club, and Slash. The band has also played major US and UK festivals such as Lollapalooza, the Hyde Park Calling Festival, Download Festival, Mountain Jam, CMJ and SXSW and headlined John Varvatos Thursday Night Live at 315 Bowery.

“We started almost like a punk band,” explains Adrian. “We focused on writing short, hard rock songs. It was like sticking it to the weird twee indie rock we’ve been inundated with.” That punk attitude can be heard on the group’s first two full-length albums, Pulling Out Just Enough to Win and Long Weekend, both released in 2008. The band expanded its horizons on 2010's Zoo Noises, a free-wheeling, all-encompassing carnival ride, fueled by such intoxicating singles as the percussive “She Said No (I Love You)” and the breakneck hooks of “Bought and Sold”. All three records were written, engineered, recorded and produced by the band with no outside input.

The band added another member in Lou Jannetty, an old friend of the Perrys’ who showed up on several of the homemade tapes the brothers made in their youth. The band's new album, Verónica (out July 16th), is the first album that Lou has been involved with start to finish. The quartet spent two years concentrating on the new record, more time than it has spent on any prior record, with Tony taking the engineering and production reins. “This is our most mature record,” says Adrian, “it's the culmination of everything we've been through and the best distillation of all of our influences to date. It's a more focused record than Zoo Noises yet is also more adventurous.” Dead Boots are still a rock & roll band at heart but belong to this moment, pulling together elements of the past and present in exciting ways. “Rather than segregating influences, we put them all together. If people listen to the whole album, they’ll get a sense that we can do a lot.”

Links:
Dead Boots

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