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Neil Young Archives Official Release Series Discs 8.5 – 12 Announced for Black Friday Release Day – New Thoughts on Next Box Sets

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Well, I’ll give Neil Young and Reprise Records credit– they’re pushing the Official Release Series along. Today, out of the blue, I got an email from PopMarket about the pre-order of the 3rd box set of vinyl reissues from his extensive catalog. If you follow this blog, you know I’ve been reporting on this series since the first box set from 2009 and including often incorrect predictions about what would be in the next releases. The second box which brought us up to his 8th album set came out in 2014 for Back to Black Friday that year.

The box sets seem to stick with the 4 LP limit and that is further perpetrated with the “joke” in the title of the third box which says it has 8.5 through 12. I speculated back in 2014 that the next box set would take us through Live Rust, and this one does! My only question was whether Young was going to include the essential The Stills-Young Band album Long May You Run. Since the album was half Stephen Stills songs and given the strained relationship the two have had over the years I thought this release might not make a box. So, this box has 5 albums in it, with Live Rust as a 2 LP. This box has an MSRP of $149.99 so that’s pretty close to what the last box was. With 5 LPs and one a double, that’s a good deal. If you pre-order from PopMarket you can get it for $124.99. Less than $25 per title. Here’s what it incudes:

LP 1: Long May You Run (The Stills-Young Band)

1. Long May You Run
2. Make Love To You
3. Midnight on the Bay
4. Black Coral
5. Ocean Girl
6. Let It Shine
7. 12/8 Blues (All the Same)
8. Fontainebleau
9. Guardian Angel

LP 2: American Stars ‘N Bars

1. The Old Country Waltz
2. Saddle Up the Palomino
3. Hey Babe
4. Hold Back the Tears
5. Bite The Bullet
6. Star of Bethlehem
7. Will to Love
8. Like a Hurricane
9. Homegrown

LP 3: Comes A Time

1. Goin’ Back
2. Comes a Time
3. Look Out for My Love
4. Lotta Love
5. Peace of Mind
6. Human Highway
7. Already One
8. Field of Opportunity
9. Motorcycle Mama
10. Four Strong Winds

LP 4: Rust Never Sleeps (Neil Young & Crazy Horse)

1. My My, Hey Hey
2. Thrasher
3. Ride My Llama
4. Pocahontas
5. Sail Away
6. Powderfinger
7. Welfare Mothers
8. Sedan Delivery
9. Hey Hey, My My (Into The Black)

LP 5: Live Rust (Neil Young & Crazy Horse)

LP 1

1. Sugar Mountain (Live)
2. I Am a Child (Live)
3. Comes A Time (Live)
4. After the Gold Rush (Live)
5. My My, Hey Hey (Out of the Blue) [Live]
6. When You Dance I Can Really Love (Live)
7. The Loner (Live)
8. The Needle and the Damage Done (Live)
9. Lotta Love (Live)
10. Sedan Delivery (Live)

LP 2

1. Powderfinger (Live)
2. Cortez the Killer (Live)
3. Cinammon Girl (Live)
4. Like a Hurricane (Live)
5. Hey Hey, My My (Into the Black) [Live]
6. Tonight’s the Night (Live)

So, a mostly strong box set in my opinion. I’ve never been a big fan of American Stars ‘N Bars, but it has some classics, in particular “Star of Bethlehem” through “Homegrown” (which introduces some of the Homegrown unreleased songs). Rust Never Sleeps is the first Neil Young album I ever bought and it’s still one of my favorites. Live Rust is pretty fantastic, and the accompanying film got a reissue this year.

My Modified Speculation on the future Official Release Series Box Sets

My previous speculation on the fourth box set left some wiggle room on whether Live Rust would be in it based on how they were going to handle The Stills-Young Band release. But, I think the next couple of boxes will be a tough sell as we start getting into Neil’s more experimental period and a litigious label switch to Geffen. We also start running out of “classic” Neil Young catalog, making the general interest in these releases until 21-24 pretty small.

The challenge I see here besides just sales of them, is the groupings of the Reprise and Geffen catalogs. I’m showing these boxes grouped by four chronologically, but the argument could be made to create a “Geffen Years” box collecting just Trans through Life making another 5 LP box (13-17). Then you end up with an improved 5 LP (17-20.5) Reprise box of this period containing Hawks & Doves, Re-ac-tor, This Note’s For You and Freedom with a bonus of the Eldorado EP.

The next box in that scenario would be a big-hitter with Ragged Glory, Arc/Weld, Harvest Moon and Unplugged, taking us to 1993 and over 25 LP’s.

Neil Young Official Release Series Discs 13-16 could include the following albums: Hawks & Doves (1980), Re-ac-tor (1981), Trans (1982) and Everybody’s Rockin’ (1983) bringing the first of the Geffen releases to bear.

Neil Young Official Release Series Discs 17-20 could include the following albums: Old Ways (1985), Landing On Water (1986), Life (1987), This Note’s for You (1988). The last album marks the return of Neil Young to Reprise Records and the end of a rocky relationship with Geffen Records that ended with a lawsuit from the label accusing Neil of releasing works uncharacteristic of his career. The alternative release for this box would be one that completely encompassed the Geffen Years– especially if 13-16 didn’t include Trans and Everybody’s Rockin’.

Neil Young Official Release Series Discs 21-24 could include the following albums: Eldorado EP (1989), Freedom (1989), Ragged Glory (1990), Arc/Weld (1991) This box represents a kind of renaissance for Neil Young and an embracing of the louder sound that he trademarked with Crazy Horse. It should include the Eldorado EP since it was a formal release (even though it was only available in Japan and Australia). I would expect to see a tandem release of Times Square— the lost album that ended up making Freedom, Eldorado and This Note’s For You. He could release that 20-minute version of “Crime in the City (Sixty to Zero)” as part of that.

With his now 2-year gap between these we’d have these through 2022?

 

(Upcoming Show) 2010 American Idol Finalist Crystal Bowersox at CSPS Friday 8/12

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Though some would debate this, it’s my opinion that American Idol’s Season 9 in 2010 was the last season worth watching. The winning chemistry of American Idol to me was always a combination of the judges and the talent, and 2010 was the year that Paula Abdul was no longer a judge and in 2011, show creator and longtime judge Simon Cowell was gone. My wife and I– longtime followers of Idol– didn’t tune in for Season 10.. Over the nine years that we watched, there have been standouts in the talent, Kelly Clarkson, Clay Aiken, Carrie Underwood, Jennifer Hudson, Season Five’s edge-of-the-seat powerhouse of Chris Daughtry/ Katherine McPhee/ Kellie Pickler/ Elliott Yasmin, Jordin Sparks, David Archuleta, David Cook and Chris Allen. One of my favorites for that nine-year run was Ohio native, by way of Chicago Crystal Bowersox. Though most of the highlights of American Idol have been squarely Top 40 types, Bowersox was an honest-to-goodness songwriter who could play and sing. She, with her slightly crunchy hippy personae topped with questionable dreadlocks, came off somehow as an underdog contender that I had hoped would take the top honors, but complications related to her Type-I diabetes (of which she is a spokesperson) cost her the top spot (Though, it could be argued that taking the top spot doesn’t always help your career– I’m looking at you Ruben Studdard and David Cook).

Since Idol, Bowersox has released three albums, with her most recent full-length All That For This released in 2013 and produced by reknowned Los Lobos member and producer Steve Berlin and features guest Jakob Dylan. Notably, she also shed her dreadlocks in 2013. Her most recent release is a self-released 7-track EP titled Promises. It’s difficult to glean what her next steps will be in her career based on her website, but she’s touring quite a bit. I’m certainly interested to see her live. Check out this great performance of the Leonard Cohen classic “Hallelujah.”

Crystal Bowersox will be performing for the 2nd time at CSPS this Friday night with a small band. The show is at 8PM (the doors and box office generally open an hour before) at tickets are $20 in advance and $25 at the door (if there are any left). You can purchase tickets at the CSPS box office or online. Details at the Legion Arts website.

(Upcoming Show) California Guitar Trio at CSPS, Wednesday 8/3

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The last two times California Guitar Trio played CSPS they were heralding new eras for the venue. Their October 2008 show was the first show in CSPS since the Flood. They generously donated parts of the proceeds of the show to CSPS. Their 2012 show was after CSPS was re-opened following the substantial overhaul of the venue. So, it is certainly fitting that California Guitar Trio is back playing CSPS in 2016– the 125th year the venue has been in existence. Coincidentally, it is the 25th year of the Trio!

The band has been back in the studio working on a new album– their first since Masterworks, their 2011 album of classical music. The recording is complete, and mixing, mastering and the rest of the release process is left to do, so they’re going to do a Kickstarter to get that funded. Some of the perks from that Kickstarter include a DVD of rare video performances from the band’s archives!

The trio always sounds amazing in CSPS, so this is a show not-to-miss!

Wed Aug 3 2016 – 7:00 pm • CSPS Hall
$17 advance | $21 door

Details and to purchase tickets visit the Legion Arts website.

(Upcoming Release) Bo Ramsey Returns With Instrumental Solo Record Wildwood Calling Out 8/2

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On August 2nd, Bo Ramsey is going to release his first new album since 2008’s fantastic and understated Fragile. Titled Wildwood Calling, the album is 13 tracks of instrumental guitar backed by a band which includes in addition to Bo, JT Bates (The Pines, Marijuana Deathsquads) on drums and percussion, Marty Christensen from Bo’s original Backsliders band on bass and son Alex Ramsey of The Pines on piano and keyboards. The album– which is on Pieta Brown‘s new “underground” record label Lustre Records— was recorded over two days in April at The Kitchen in Iowa City, and was mixed and mastered by BJ Burton, who is house engineer for Justin Vernon’s April Base studio, and also worked the boards on Brown’s Paradise Outlaw and her EP of outtakes Drifters.

I’ll be writing a review of the album for Little Village in the coming weeks. I’ll link to it here when that goes up.

Tracklisting:

  1. Fly On (Part 2)
  2. Through The Trees
  3. Feather Trail
  4. Glide
  5. Sky Light
  6. Jump n Run
  7. Out Here
  8. Rise
  9. Come On Back
  10. Flip Top
  11. Across The Field
  12. Movin’ On
  13. Fly On (Part 1)


 

Expressions Trace A Template of Loss in Kalispell’s Printer’s Son

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Kalispell on the turntable, as The Multiple Cat looks on.

Kalispell is the side-project from Shane Leonard who, among other projects, is part of Field Report. He just released his second album under the Kalispell band name on Davenport, IA label Cartouche Records — home of recent releases by The Multiple Cat, Land of Blood and Sunshine, Brooks Strause, J.E. Sunde, and Daytrotter.com illustrator Johnnie Cluney’s band Bedroom Shrine. Fantastic releases all, and you should check them out, and be on the lookout from releases by Devin Frank (of Poison Control Center) and Chrash in July.

Printer’s Son is one of those rare records that is so completely imagined and executed that when you first listen to it, it seems to drop unexpectedly out of the ether. It’s a record that defies any convenient genre classification. Elements of ambience and folk and jazz come together to help deliver a grippingly emotional and personal album. The album reminds me another album that slips from the grasp of genre: David Sylvian’s 1987 landmark solo record Secrets of the Beehive. For his second release Sylvian took another step away from the New Wave-ish synthpop of his band Japan. He enlisted some Jazz artists including Ryuki Sakamoto and Mark Isham which gave that album a delicate ambience. Printer’s Son carries a similar jazz folk vibe. Additionally, the dry production of Leonard’s vocals suit the intimacy of the album.

Printer’s Son owes some of its woody atmospherics to the fact that it was partially recorded at Justin Vernon’s April Base Studios and was engineered and co-produced by Brian Joseph, who was on the boards for Bon Iver’s 2012 Grammy-winning album. Bon Iver is another album that similarly made beautiful soundscapes out of impressionistic personal stories and accounts. Leonard takes recent painful events and uses them as the basis for Printer’s Son. He talks about this on The Current show Radio Heartland:

I had this wildly unforseen year of just this radical change. I thought I had my path pretty set– music was going well and I was living in Chicago. All within this year, my dad was diagnosed with cancer, and his passing forced me– ultimately I think in a really important and helpful way even though very difficult– to reconsider a lot of assumptions I had. And, right after he passed our family dog died and then my dad’s father also passed. It was all at the same time and I was moving and also moving away from a relationship that I had been in a long time. So, it was like the world got turned over and then I just started thinking differently as a symptom of that.

Some albums have stories that we can identify with.  On Printer’s Son, I feel the sentiments, the memories, the connections. Leonard tells his stories and like a good book or film, they become part of the listener’s own fabric. I can picture that canyon climb with the banded walls in “Windfall.” I feel the ghost itch from the overgrowth scratching skin on the fading road in “Parting Ground.”

David Sylvian’s Secrets of the Beehive has become part of my permanent soundtrack. I feel that Kalispell’s timeless tapestry of folk and jazz in Printer’s Son is destined to be another album that I will hold onto.

Listen to Printer’s Son below and be sure to order yourself a copy from Cartouche.

(Upcoming Release) Seminal Athens, GA Band Pylon is BACK with Live Album Out July 25, 2016

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Pylon - Live

By the time I first heard Pylon, they had already broken up.  They were featured prominently in the documentary film Athens, GA: Inside Out and its associated sountrack on IRS Records. I bought the soundtrack first– I had heard that R.E.M. had a couple of songs on it, so the completist I was, I needed to own the soundtrack.. The R.E.M. songs were good, and the band I had at the time did a similar version of “Swan Swan H” though we couldn’t really tackle the harmonies of “(All I’ve Got To Do is) Dream.”

But, the real eye-opener was all of the other unknown bands on the album. I really loved Love Tractor, and to this day is still one of my favorites, and The Squalls, and Dreams So Real (who were swept up by a major and then lost forever). I wasn’t sure what to make of the dissonant and angular music of Pylon, whose live version of “Stop It” was kind of the centerpiece of the soundtrack. It wasn’t until I finally saw the film on VHS that I really understood that Pylon was one of the early bands in the scene and all of the other bands really looked up to them, including my heroes R.E.M., who covered “Crazy” which was included in the odds-n-sods compilation Dead Letter Office. I started college later in 1987, and found friends who were really into the Athens scene and I borrowed the two albums Chomp and Gyrate and made a tape of them and was quickly a fan.

The band broke up because they were tired of the pressures that come with a band that was rising from obscurity. In 1990, seemingly out of nowhere the band was back. In an interview with Perfect Sound Forever, they said that they realized that interest in the band wouldn’t die, and they were all still living in Athens, so they decided to reform. The put together a “greatest hits” of sorts called Hits, and then recorded a new album Chain in 1990. By that time, their unique sound wasn’t as leftfield as it was earlier. In fact, bands like The Sugarcubes probably owed a lot to the groundbreaking Pylon. But, they wouldn’t stay together for long after that.

Some time in 2004, the band reunited again and enjoyed notoriety spurred on by the CD reissue campaign of Chomp and Gyrate by DFA Records (now out-of-print again, and going for insane prices).  The band played shows and, I for one was happy they were back. The band broke up officially again in 2009, following the unexpected death of Randall Bewley.

So, in 2016 we have some developments in the Pylon camp.  In March it was announced that a 1980 performance at Danceteria by Pylon in the archives of Pat Ivers and Emily Armstrong as part of the Nightclubbing TV show from NYC that captured the early days of Punk and New Wave. There were select screenings of the show with Q&A from the band. Then, in April the band announced a 7″ of live tracks from their last show in Athens, GA in 1983 at the Mad Hatter. This show was captured to video and multitrack audio for a pilot for a failed PBS series called Athens Shows.

It turns out that the 7″ was a taste of what was to come. On July 25th– Randal Bewley’s birthday– Pylon is releasing a 2 LP and digital download version of the last show in Athens titled simply PYLON LIVE. Pylon was a force to be reckoned with live and this album captures them at the peak of their powers with a setlist that picks the great tracks from the 2 LPs and drops in a couple of rarities. “Party Zone” was only available on a rare DB Recs compilation and Pylonized cover of the Batman TV theme with new lyrics.

The vinyl package comes in three different colors– 200 on magenta vinyl (which compliments the cover well) and 200 on clear vinyl. The rest are on black vinyl. The LP’s are a reasonable $29.99 plus about $5 shipping. The digital download is $8.99. If you pre-order, you get immediate download of “Volume.” Here it is in their Bandcamp player:

PYLON LIVE is available for pre-order at chunklet.com, chunklet.bandcamp.com, iTunes, Amazon, and wherever digital music is sold.

Limited to 200 on magenta vinyl.
Limited to 200 on clear vinyl.
Unlimited on black vinyl.
Track List:

SIDE A
Working is No Problem
Driving School
No Clocks
Altitude
Gravity

SIDE B
Crazy
K
Cool
Italian Movie Theme
Buzz

SIDE C
Danger
Reptiles
Stop It
Feast On My Heart
Beep

SIDE D
M Train
Volume
Weather Radio
Party Zone
Batman

(Upcoming Release) Tom Petty & The Heartbreakers 1993 “Greatest Hits” Reissued on 2 LP 180g on 7/29/2016

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TPH - Greatest HitsFrom the Under the Radar department: I happened to notice on Amazon yesterday that Tom Petty and the Heartbreakers‘ 1993 Greatest Hits was getting the 180g vinyl treatment. Though some might deem it unnecessary to reissue this again, it has only ever existed on vinyl as a foreign pressing. While this compilation is the greatest-selling release in Petty’s catalog at 12 Million copies, it is one that exists only because of an exit strategy that Petty needed to get out of his contract with MCA.

It’s easy to see why this compilation is so popular, Petty’s stint with Shelter/MCA from 1976 to 1993 produced the biggest and most beloved singles and albums of his career. But, by 1993 Petty was already secretly signed to Warner/Reprise by Mo Ostin and Lenny Waronker, and holding the critically-acclaimed Rick Rubin-produced Wildflowers to be the first release on his new label– a result of his increasing disappointment with MCA and in particular label head Al Teller’s handling of his catalog. Petty instructed his manager Tony Dimitriades to meet with Teller and negotiate getting out of his contract without fulfilling the last record due the label, and certainly not giving MCA Wildflowers— what Petty considered to be an artistically important one. Dimitriades recounts the negotiation in Warren Zanes’ book “Petty: The Biography”

“I get to the point and tell [Al Teller] that Tom doesn’t want to give him the last album. Al says, ‘What do you mean he doesn’t want to give us the last album?’ I say, ‘He’s not going to give it to you. He wants to leave. He’s unhappy.’ We’re in this restaurant, you know? And Al says, ‘You can’t do this to me!’ But I could. The artist we were talking about was a guy who chose to file for bankruptcy rather than deliver an album.”

Dimitriades and Teller negotiate and arrive at a greatest hits release (one that they were already planning) with the stipulation that Tom and the Heartbreakers record a new song for it. An idea that Tom hated since he didn’t understand the idea of a new song being on a greatest hits. Conveniently, the song was “Mary Jane’s Last Dance” which became a greatest hit, too.

In 1995 Seagram bought 80% of MCA and rebranded it Universal Music Group and fired Teller in November of that year. In 2003 the MCA catalog was absorbed by UMG label Geffen, which explains why, in 2008, the reissue of Greatest Hits was on Geffen instead of MCA. The 2008 reissue dropped the Thunderclap Newman cover of “Something In The Air” in favor of “Stop Draggin’ My Heart Around” and gave it a new cover.

This new vinyl reissue of Greatest Hits restores the 1993 track list, but uses the 2008 cover– a symptom of it being on Geffen Records, now I expect. They also add the song “Anything That’s Rock n Roll” which was on the UK version of the 2008 reissue.

Side A
1. American Girl
2. Breakdown
3. Anything That’s Rock n Roll
4. Listen To Her Heart
5. I Need To Know
6. Refugee

Side B
1. Don’t Do Me Like That
2. Even The Losers
3. Here Comes My Girl
4. The Waiting
5. You Got Lucky

Side C
1. Don’t Come Around Here No More
2. I Won’t Back Down
3. Runnin’ Down A Dream
4. Free Fallin’

Side D
1. Learning To Fly
2. Into The Great Wide Open
3. Mary Jane’s Last Dance
4. Something In The Air

TWINS Cover “I Knew The Bride (When She Used to Rock and Roll)” Bonus B-Side For Square America

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Photo by Michael Roeder

Photo by Michael Roeder

It’s no secret that the guys in Cedar Falls band TWINS are fans of Nick Lowe and Dave Edmunds and owe a little of their guitar pop swagger to the groundwork Lowe and Edmunds laid down in their various projects as solo artists, together in Rockpile and their production work for just about everyone in the late 70’s and early 80’s (Lowe’s work with Elvis Costello is my favorite period of his).

As a tribute, TWINS have recorded a cover of “I Knew The Bride (When She Used to Rock and Roll)” a song that has been a part of every wedding reception I’ve ever attended. This cover is a bonus download for anyone who pre-orders the new TWINS album Square America which drops on July 1st! Be sure to catch TWINS with Volcano Boys at The Mill on 7/1 for the Square America release show! $8 Cover. Deets HERE.

You can read my review of Square America at Little Village Magazine.

A bit of trivia: Nick Lowe wrote “I Knew The Bride (When She Used to Rock and Roll)” and the version we usually hear is his 1984 recording. That studio version has Huey Lewis and the News as the backing band, with Mr. Lewis providing the distinctive harmonica honking. The version that TWINS have done is closer to the sped-up one that Dave Edmunds recorded in 1977.

CHECK IT OUT:

Pre-order Square America at Maximum Ames!

Check out TWINS first Daytrotter Session. There will be a new one coming!

(Upcoming Show) Pieta Brown with Bo Ramsey at CSPS Saturday 5/14/16

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Bo and Pieta - CSPS 10-14

Bo Ramsey and Pieta Brown at CSPS 10/4/2014

Some of the most special shows I’ve seen at CSPS have been the ones with Pieta Brown. Though Cedar Rapids isn’t her home turf, I feel like in some ways CSPS has become a 2nd home for her– she seems really comfortable with the crowd which is a mixture of Cedar Rapids and Iowa Citians and is capable of giving a very intimate show in the big space.

She’s returning this Saturday night, May 14th with Bo Ramsey opening with a special solo show and then joining her for her set. This show is a CD release show for her self-released EP of outtakes from her album Paradise Outlaw. I reviewed the CD titled appropriately enough Drifters for Little Village Magazine, saying “Although Pieta Brown thinks that the songs on Drifters have “many rough edges,” they provide a picture of what a double album might have been like. She offers these songs as an experiment, launching her own “underground” label imprint, Lustre Records. I’m looking forward to more collections of songs from her archives — Drifters is a great start!”

We’re getting a treat with Bo Ramsey opening for Pieta as he doesn’t do many solo shows. His last show was opening for Pieta at the Englert. I can’t remember the last time Bo played solo in Cedar Rapids!

The show is at 8PM, Saturday night and the tickets are $17 in advance and $21 at the door. Bring some extra cash or plastic to pick up the Drifters CD and to try out the regional beers and wine at The Carlo Bar. Ticket and show information are at the Legion Arts website.

(Upcoming Release) Tom Petty & The Heartbreakers – Kiss My Amps Live Vol. 2 for RSD 2016

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Kiss My Amps II

With Record Store Day 2016 fast approaching (April 16th), I wanted to post about a few releases that I’m interested in. I already posted about the Son Volt Live at the Bottom Line previously. Tom Petty has been a supporter of RSD from the start with special reissues of his first two albums and a vinyl-only (plus download) live compilation titled Kiss My Amps for Black Friday RSD 2011.

Announced with the rest of the Official RSD list for this year is a sequel– Kiss My Amps Live Vol. 2. Volume 1 focused on the Mojo Tour from 2010. Volume 2 focuses on dates in 2013 and is made up of tracks that were given to members of the Tom Petty fanclub Highway Companions as part of their subscription as a digital download. Notably, Kiss My Amps Volume 1 was not made up of the Mojo Tour 2010 download the club got, but were different tracks.

It will be pressed on 180g vinyl and includes covers by The Byrds, Paul Revere and the Raiders/The Monkees, Little Feat and a Traveling Wilburys song. They had to take a track off of it (“Baby, Please Don’t Go”) because the original digital download was 55 minutes and it is tricky to get that much audio per side of an LP and have it sound good. (Even minus the 5:22 of “Baby Please Don’t Go” it’s pretty tight at 49 minutes (24+ per side). Optimally, you want less than 22 minutes per side to get the full bass frequencies.

1. So You Want to Be a Rock N Roll Star (Live Beacon Theatre)
2. I’m Not (You’re Steppin Stone) Live Beacon Theatre
3. Love is a Long Road (Live Fonda Theatre)
4. Two Gunslingers (Live Beacon Theatre)
5. When a Kid Goes Bad (Live Fonda Theatre)
6. Willin’ (Live Fonda Theatre)
7. The Best of Everything (Live Fonda Theatre)
8. Tweeter and the Monkey Man (Live Beacon Theatre)
9. Rebels (Live From Bonnaroo Music & Arts Festival)
10. A Woman In Love (It’s Not Me) (Live From Bonnaroo Music & Arts Festival)

The standout track on here for me is the 8:46 minute version of “Tweeter and the Monkey Man.” For that track alone, this set is essential.

Bull Moose Records lists this at MSRP of $19.98 with their price being $17.97. So, expect your RSD participating store to have it around these prices.

In other Tom Petty news for RSD, there will be a Mudcrutch 7″ featuring tracks from the upcoming Mudcrutch album 2. The A-side is “Trailer” which is a reworking of the Southern Accents outtake. The original version can be heard on the flipside of the “Don’t Come Round Here No More” 7″ or on disc 4 The Other Sides of the Playback boxset. A really great track, and is worthy of a revisit. The song would have improved the song lineup of Southern Accents, in my opinion.