Big Star: Rhino "Box Set"*

Thought some of you guys might dig this. Terry Manning on Big Star from the Pro Sound Web forums a few years back.

Remembering this particular record is one of the toughest for me of all. For many, many years I wouldn't even talk about it. In fact, I wouldn't even listen to this album for more that two decades. But a couple of years ago, a writer from the UK, Rob Jovanovic, called me to ask if I would talk a bit about the whole Big Star scene. Rob was writing a book for Harper Collins about the band. He turned out to be a real nice guy, and before I knew it, he had me talking some. By the end, he was asking if there were any out takes, extra mixes, etc., as he was hoping to release a companion CD with his book. I said that I didn't really know, as I had a LOT of boxes of very old tapes and momentos, which I hadn't even opened for a long time. But he got me looking through boxes, and before I knew it, I had found some things...

But to the whole Big Star story, as I knew and lived it.

This whole thing is one that's hard for me because I am such a HUGE fan of the band, and as well as having been integrally involved with it, the way things turned out weren't always for the best. Just today I listened to #1 Record on the way to the studio, and again it made me very nostalgic, happy, sad, excited, and depressed...as it always does.

The band grew out of two things. One was a group co-founded by Chris Bell, in which in which he was the lead guitarist, and sang some leads and backing vocals as well. I was the keyboard player, backing vocalist, engineer, co-producer, and somewhat of a mentor to Chris. This band was, amongst other names (Christmas Future, Icewater), basically called Rock City. Chris was my best friend for about 10 years back then, and we were both totally into music composition and recording. I had been working as engineer and producer for Stax Records, and as chief engineer for Ardent Studios, owned by my other great friend at the time, and my audio mentor, John Fry. There was a group of other guys with us who sort of revolved in and out of the various groups we would put together. We would practice at Chris' 'back house,' which was also our darkroom (one of them at least...I had one in my apartment, and our friend William Eggleston had a big one in his house). I was recording a lot of my own things, in addition to the 'day job,' and Chris wanted to get into recording and production. He started writing original songs, and would bring them to me to see what I thought. They were getting pretty good, so we started recording an album. On drums was Jody Stephens, eventual BS drummer, and on bass and lead vocals was Tom Eubanks. We worked long and hard on the album, going into Ardent late at night (we had free run of this great place). An album was completed, to be called "See Seven States" by Rock City. We mixed it and sent it out to labels, but got almost no response from them.

The second thing from which Big Star sprung was Alex Chilton. Alex was lead singer for The Box Tops, who had been having several big single hits, including the biggest hit of one of those years, 1960-something, "The Letter." But Alex was unhappy working under his producers, who were telling him everything to record, how to sing, basically running his life (...and making him a star...!) But he wanted to do his own songs his way. I had been engineering and playing on the Box Tops recordings, so I had worked with Alex a lot, and we had become good friends; he felt that I understood his plight. AC asked me if I would produce an album of him, doing his songs. I said OK. So we recorded his first solo album, and shopped it to labels as well. Atlantic wanted it, but wanted to release a single or two first; Alex was tired of singles, and preferred to have the whole album out first. Then Brother Records (The Beach Boys' label dist through Capitol) were interested; The Box Tops had toured with the Beach Boys, and AC was friendly with Carl and Brian Wilson. So we all met to talk about releasing it there.

In the meantime, Chris and Alex had hooked up, and Chris saw an opportunity to get this talent into HIS band. So another new album was started, this time with Chris, Alex, Jody on drums, and Andy Hummel, another friend-to-all, on bass. I played some keyboards, sang backing vocals, and engineered some. John Fry was the main engineer, and certainly, especially, was for the mix, and Chris had learned a lot about engineering by now, so he did a lot of the overdubs. We took two of the songs which had been recorded for the Rock City album as a starting point, plus one we had recorded as Icewater, and Chris and Alex wrote separately and together the other songs (Andy wrote and sang one). Chris basically sang the songs he instigated, and Alex the same with his. I also sang co-lead on "When My Baby's Beside Me."

This new one was coming along so well, and with minimum response from labels for at least one of the other two albums, The Rock City and Alex solo ones were just put aside in their relative tape boxes. The RC was fully mixed and edited, but the Alex was still only multitrack. We then pretty much just forgot about these.

I produced another group about the same time, Cargoe, and also a third artist, a solo guitarist named Gimmer Nicholson. These three artists were to be the first on our newly formed label, Ardent Records. We were tired of looking to the majors for releases, and were going to do it ourselves. Gimmer was to be the first release, then Cargoe, then the new Chris/Alex group.

We named this group Big Star, after the supermarket across the street from the studio, at whose sign we were always staring. The album was finished, and I came up with the star idea with the 'Big' in the middle for the cover, and had another friend, a neon sculpture artist named Ron Pekar, make it up for us. It was photograped hanging on the wall of John Fry's office, with black photo paper behind it.

We decided that, because The Beatles didn't really put any credits on their records at this time, we wouldn't, either. We thought that the public group should only be four people, and they should be named and featured, but not much else...this was to be right in line with The Beatles, as usual (much like the BS music was, or so we thought).

As for the recording, this album was completely crafted over a long period of time. It was not thrown together quickly. Many months, in fact, years if you include the resurection of the Rock City/Icewater tracks, were spent in putting this together. Chris Bell had become almost fanatical about getting things just right, and would do and redo, and redo parts. Andy played a new bass part on "Feel." I had done the one on the Rock City/Icewater version. There was no designated <Producer> as known today, but if any one person was the closest to that, it would have been Chris Bell. I cannot overstate my admiration for the songs and the talents of Chris and Alex. Not to mention the engineering and mixing talents of John Fry.

The acoustic guitars were very carefully done. Neumann mics were usually used, I think KM 84's and/or 86's, and in some cases 87's. Almost always only one mic was employed. Most acoustic tracks were fairly heavily compressed (for those days, at least), usually by one of the UA 176 limiters we used so much. On "Thirteen," multiple parts were done to almost simulate one big guitar. There was almost no strumming of these acoustics, though; most of it was single note playing, or at least arpeggios. Most people I have seen attempt to replicate this try strumming first...that's not it. Chris and Alex would both play different acoustics. I remember AC had a Martin then, and I think CB had a Gibson. Alex was a great acoustic player, having done the Greenwich Village thing as a solo acoustic artist also. And Chris could play anything, on any guitar. He played some "finger picked" parts close to the bridge.

But the little known fact about these acoustics, especially "Thirteen," was the influence of Gimmer Nicholson. His solo acoustic guitar album was loved by all of us, and it was very much in this style. It just ended up not being released for many years, so outsiders hadn't heard it then.

The early tracks were done on 8 track Scully 1", and the later ones on 3M 16 track 2". Ardent moved locations during the long period of recording this, so the earlier ones were done at the National Street location, while the later ones at Madison Avenue location. The console(s) were always SpectraSonics (by Auditronics...but NOT the later Auditronics).

Much of this basic story, plus a lot more, I think is now out in Rob's book. I'll find the Amazon link, and out it on the bottom of this post. Haven't gotten it yet myself, though.

What is so sad about this all to me was the fact that Chris was killed a few years later, and never knew that so many people really love his music so much, because it wasn't until years after release that major success came...and it seems to grow every year. Also, there is a lot of emotional conflict in these songs; they were to some extent written about what we were all going through at the time, and it is sometimes hard to hear that again. Of course, the most truly real emotional conflict I think I've ever heard in a pop song was in Chris Bell's solo effort "I Am The Cosmos," which was never even a real, finished record.

Anyway, back to the "opens-old-tape-boxes" part of this now-too-long story. When I started looking for things, I actually found the long-lost, and almost forgotten, Rock City album, inside a mis-marked box. So I only had to master it, and released it on my small label, Lucky Seven (shameless link below), the same label on which I had finally put out the Gimmer Nicholson album, a couple of years earlier. The Alex solo album was called "1970" and was released about 1996, finally!

As for any damaged tapes or lacquers, I think there was an incident about Chris dropping the stylus while writing or marking on a finished acetate master (we always wrote something, or made some mark), but I don't remember exactly what it was, or how that happened. But I do know that he tried to destroy the mixed 1/4" masters before it could all be released. Chris was a wonderful person, and extremely talented artist, but he did have issues at times, and he had decided that this music wasn't going to come out as it was. I got wind of this, and hurried to the studio to replace the reels inside those 2 boxes. Chris did burn those tapes, but I had the real ones hidden. Of course, there were safeties, so it wouldn't have really mattered anyway. But in that same box where I looked recently, there were the original #1 Record 1/4" masters, inside the other boxes I had put them in long ago! I have them now, and when REM were here recording last February, I had to get them out so they could all look at those tapes.

Well, again, a far too long story.

All the best,

Terry

 

Here's the Rhino press release, in my box this am:

BIG STAR SHINES

Rhino Salutes The Revered Group With A Four-Disc Boxed Set That Compiles
Key Album Tracks With Unreleased Demos, Alternate Takes And Live
Performances

Available From Rhino September 15

LOS ANGELES -- Big Star inspired a fevered allegiance among fans of power
pop, giving rise to a cult of believers who spent decades spreading the
gospel. Their enthusiasm turned this obscure Memphis pop band*one that got
little airplay, sold few records, and only played a handful of times--into
a remarkable rock and roll resurrection story. Big Star's trek from obscure
Memphis band to standard bearers for an entire genre of music has never
been fully mapped*until now. Rhino presents the definitive look at the
definitive power-pop band with a four-disc boxed set divided between key
cuts from Big Star's three studio albums and unreleased music. KEEP AN EYE
ON THE SKY will be available September 15 from Rhino Records at all retail
outlets, including www.rhino.com, for a suggested list price of $69.98
(physical), it will also be available as a digital release the same day. A
Deluxe Edition release of Chris Bell's solo album I Am The Cosmos is due
September 14 from Rhino Handmade. A free stream of the unreleased song
"Lovely Day" is available now at www.rhino.com/bigstar.

KEEP AN EYE ON THE SKY spans 1968 to 1975 and shows the progression of Big
Star through selections from such studio precursors as Rock City and
Icewater; music from Big Star's acclaimed recordings (#1 Record, Radio
City, and Third/Sister Lovers); and relevant solo work by group principals
Alex Chilton and Chris Bell, who formed Big Star in 1971 with bassist Andy
Hummel and drummer Jody Stephens. The collection also uncovers a trove of
unreleased demos, unused mixes, alternate versions of songs, and a 1973
concert recorded in Memphis.

In these 98 tracks you can hear what turned artists as diverse as Cheap
Trick, R.E.M., and The Replacements into Big Star fans. Spotlighting the
band's roots, the boxed set opens with several songs recorded before Big
Star formed, including "Try Again," one of the first songs Bell and Chilton
wrote together. Those early cuts are followed by Big Star's 1972 debut #1
Record, reimagined here using a mix of album tracks and unreleased
alternate mixes of favorites like "Thirteen," "When My Baby's Beside Me,"
and more. Among the disc's rarities are "Country Morn'" (issued as a
flexi-disc single by a Big Star fanzine), the demo for "I Got Kinda Lost,"
and an unreleased acoustic demo of Chilton singing Loudon Wainwright's
"Motel Blues."

Ardent Records, the band's label, experienced problems with distribution
that hindered any chances at success for #1 Record. Its failure was a major
blow to Bell, who quit the band to go solo. In 1974, the Alex Chilton-led
Big Star regrouped and released Radio City, an album more attuned to the
band's live energy that featured the power-pop confections "September
Gurls" and "Back Of A Car." The second disc of KEEP AN EYE ON THE SKY opens
with a trio of unreleased demos: "There Was A Light," "What's Going Ahn,"
and "Life Is White." The original song sequence for Radio City follows,
combining album versions with unreleased alternate mixes ("Way Out West"
and "You Get What You Deserve.") The disc features unissued versions of
"She A Mover" and "Mod Lang," several unreleased demos for Big Star's third
album, plus Bell's acclaimed 1978 single "I Am The Cosmos" and its B-side
"You And Your Sister." Sadly, Bell died in a car accident a few months
after the single's release.

When Big Star reconvened in 1975 to record Third/Sister Lovers, only
Chilton and Stephens remained (Hummel left shortly before Radio City's
release). Famed Memphis maverick Jim Dickinson was enlisted to supervise
the recording, which languished on the shelf for years before its release
in 1978. Despite its bleak timbre, wild dynamics, and fragility, the music
possesses a startling grace. KEEP AN EYE ON THE SKY's third disc opens with
seven demos (most previously unreleased) for songs that appear on
Third/Sister Lovers, including "Jesus Christ," "Take Care," and
"Holocaust." Among the album's 19 songs collected here is "For You," "Kizza
Me," and "Kanga Roo." Also featured is "Lovely Day," an early, unreleased
version of "Stroke It Noel" with different lyrics; Chilton vamping with
photographer Bill Eggleston at the piano for Nat King Cole's "Nature Boy";
and a raucous cover of The Kinks' "Till The End Of The Day."

The collection's final disc contains unreleased highlights from three sets
Big Star performed at Lafayette's Music Room in Memphis in January 1973. It
is the best live recording ever of the band. The show captures Chilton,
Hummel, and Stephens playing many of the songs on #1 Record, which had just
recently been released. The set list includes a retooled version of "ST
100/6" lengthened by both guitar and drum solos (with a middle eight
heisted from the Rock City song "The Preacher.") Also in the repertoire are
"There Was A Light" and "I Got Kinda Lost." In addition, the concert
includes fully formed versions of several songs recorded later for Radio
City: "Back Of A Car," "Way Out West," "O My Soul," and a particularly
rocking "She's A Mover." Those originals are mixed with a selection of
covers: Todd Rundgren's "Slut," T. Rex's "Baby Strange," The Kinks' "Come
On Now," and The Flying Burrito Brothers' "Hot Burrito #2."

The lavish packaging for KEEP AN EYE ON THE SKY includes extensive liner
notes, rare and never-before-seen photos, and insightful essays about the
cult of Big Star and the band's history. In the notes, Stephens reflects on
the band's belated triumph. "Sure, it would've been nice to have been huge
at the time. But, here we are, 30 years later, and Big Star is still
playing, our music is turning up in movie soundtracks, and young people are
still excited to discover the records. I mean, if that isn't success, I
don't know what is." On July 1, 2009 Big Star will perform at the
Serpentine Sessions in London's Hyde Park.

KEEP AN EYE ON THE SKY
Track List

Disc 1
1. "Psychedelic Stuff" * Chris Bell
2. "All I See Is You" * Icewater
3. "Every Day As We Grow Closer" (Original Mix) * Alex Chilton
4. "Try Again" (Early Version) * Rock City
5. "The Preacher" * Rock City
6. "Feel"
7. "The Ballad Of El Goodo" * Alternate Mix*
8. "In The Street"
9. "Thirteen" * Alternate Mix*
10. "Don't Lie To Me"
11. "The India Song"
12. "When My Baby's Beside Me" * Alternate Mix*
13. "My Life Is Right" * Alternate Mix*
14. "Give Me Another Chance" * Alternate Mix*
15. "Try Again"
16. "Gone With The Light"* - Chris Bell
17. "Watch The Sunrise"
18. "ST 100/6" * Alternate Mix*
19. "In The Street" * Second Recorded Version
20. "Feel" * Early Mix*
21. "The Ballad Of El Goodo" (Alternate Lyrics)
22. "The India Song" * Alternate Version*
23. "Country Morn"
24. "I Got Kinda Lost" * Demo
25. "Motel Blues" * Demo*

Disc 2
1. "There Was A Light" * Demo*
2. "Life Is White" - Demo*
3. "What's Going Ahn" * Demo*
4. "O My Soul"
5. "Life Is White"
6. "Way Out West" * Alternate Mix*
7. "What's Going Ahn"
8. "You Get What You Deserve" * Alternate Mix*
9. "Mod Lang" * Alternate Mix
10. "Back Of A Car" * Alternate Mix*
11. "Daisy Glaze"
12. "She's A Mover"
13. "September Gurls"
14. "Morpha Too" * Alternate Mix*
15. "I'm In Love With A Girl"
16. "O My Soul" * Alternate Version*
17. "Back Of A Car" * Demo
18. "Daisy Glaze" * Alternate Take*
19. "She's A Mover" * Alternate Version
20. "I Am The Cosmos" * Chris Bell
21. "You And Your Sister" * Chris Bell
22. "Blue Moon" * Demo * Alex Chilton*
23. "Femme Fatale" * Demo * Alex Chilton*
24. "Thank You Friends" * Demo * Alex Chilton*
25. "You Get What You Deserve" * Demo * Alex Chilton*

Disc 3
1. "Lovely Day" (aka Stroke It Noel) * Demo - Alex Chilton
2. "Downs" * Demo * Alex Chilton
3. "Nightime" * Demo * Alex Chilton*
4. "Jesus Christ" * Demo * Alex Chilton*
5. "Holocaust" * Demo * Alex Chilton*
6. "Take Care" * Demo * Alex Chilton*
7. "Big Black Car" * Alternate Demo * Alex Chilton*
8. "Manana"*
9. "Jesus Christ"
10. "Femme Fatale"
11. "O, Dana"
12. "Kizza Me"
13. "You Can't Have Me"
14. "Nightime"
15. "Dream Lover"
16. "Blue Moon"
17. "Take Care"
18. "Stroke It Noel"
19. "For You"
20. "Downs"
21. "Whole Lotta Shakin' Goin' On"
22. "Big Black Car"
23. "Holocaust"
24. "Kanga Roo"
25. "Thank You Friends"
26. "Till The End Of The Day"
27. "Lovely Day"*
28. "Nature Boy"

Disc 4 * Live at Lafayette's Music Room, Memphis, TN
1. "When My Baby's Beside Me"*
2. "My Life Is Right"*
3. "She's A Mover"*
4. "Way Out West"*
5. "The Ballad Of El Goodo"*
6. "In The Street"*
7. "Back Of A Car"*
8. "Thirteen"*
9. "The India Song"*
10. "Try Again"*
11. "Watch The Sunrise"*
12. "Don't Lie To Me"*
13. "Hot Burrito #2"*
14. "I Got Kinda Lost"*
15. "Baby Strange"*
16. "Slut"*
17. "There Was A Light"*
18. "ST 100/6"*
19. "Come On Now"*
20. "O My Soul"*

*Previously unreleased

# # #

 

Hey Chris M, thanks for posting this. It's a great read! Has anyone heard the Rock City album or the Gimmer Nicholson album?
Are they essential listening for Big Star fans?

 

The Rock City disc is great, although I belive it's out of print right now:

http://www.amazon.com/Rock-City/dp/B00009WVTK/ref=sr_1_6?ie=UTF8&s=music&qid=1243952479&sr=8-6

It's well worth finding a copy.

Chris

 

The Rock City album on Lucky Seven records is essential in my opinion. Now, having said that, you get the best tracks if you have the Ace/Big Beat Thank You Friends The Ardent Story compilation AND the new Big Star box (i.e., if you have both those compilations, the best tracks are on one or the other).

But you should buy it. Tom Eubank's I Think It's Time We Said Goodbye is pretty much as good as anything on #1 Record or Radio City. The early versions of Try Again and Feel are essential. It's very, very good. If #1 Record is your favorite Big Star record, well, Rock City is the blueprint for it, with a different lead singer (Tom Eubanks) on most songs. If Radio City is your favorite Big Star album, it'll mean less to you. Chilton DOES appear on one Radio City track. Look, I've said it before and I'll repeat it: Rock City is one of THE great lost '70s albums.

Gimmer Nicholson is a bird of a different feather. A very dear friend of mine who just passed away this year insisted I had to have that, so I bought it after Terry Manning finally put it out on his label. It's an all-instrumental, acoustic guitar album, just Gimmer and Manning on it. I dearly love the track Millennial Harbinger.

Now, it is NOT any kind of power pop/Big Star sounding album. It's delicate, lovely, emotional, and beautiful.

But when you hear Gimmer play, if you're a Big Star fan one thing will be immediately obvious: THIS is exactly where the fantastic acoustic guitar sound on #1 Record comes from, lock stock & barrel.

Gimmer Nicholson is not for everybody, but geez, there's so many guitar aficionados here that if there's anyplace in the world where that almost completely unknown album would be appreciated, this forum is probably it. It's WELL worth checking out.

 

kentb47 and Burningfool, thank you for taking the time to answer my questions. I am going to have to hunt down the Rock City and Gimmer Nicholson releases. The Big Star/Memphis music scene from the '70's was an amazing period for music. I have the Hot Dogs Ardent Records LP, (Sounds great IMHO) and am looking for the Cargoe vinyl too.
I just love the energy and excitement that comes across from all these bands!
cheers....

 

Yes!!

 

A reliable source reports that the O My Soul demo isn't all that different than the other versions we have. The outtake on the box, the 3rd version recorded, must be more interesting.

Turns out this isn't really a Big Star recording. It is a song called Out of Gas Again that was a Joe Hardy song that Andy had a hand in.

 

Here's an article on the box set from Billboard, with comments by Jody Stephens.

http://www.billboard.com/bbcom/news/big-star-reaches-for-sky-with-box-set-1003980482.story

 

Reading Rhino's press release about the box has me jazzed. I am really looking forward to this.

I didn't realize that Big Star is playing in London in a few weeks. Any UK fans here plan on attending?

 

The London show was great. Really happy to see it. All in great spirits. John Fry, David Bell, and Steve Rhea were all in attendance.

The box came last week (advance). Been playing it constantly.

The intro to September Gurls is NOT on this (it's only on the Ardent Story). There's just a ton of new stuff, about 39 different songs.

The acoustic Alex only demos of Femme Fatale and Jesus Christ are pretty stunning. Much more like pop songs.

The live stuff from Lafayette's is terrific, esp. the covers (Slut, Baby Strange, Hot Burrito #1, Come On Now).

The studio Motel Blues is great (I can hear Andy engineering it in the talkback).

The 'new' version of O My Soul is radically different and interesting. I don't know whether it's pre- or post-. Multiple plays reveal exactly why it was never issued, tho. It drags. (in a boring sense, not tape drag).

The Chris Bell CD is coming out about the same time. Two discs. David was really excited about it.

A friend and I were down on the South Bank at a pub the day before, and quite coincidentally given the size of London and how far we each were from our hotels, we ran into Jody and John (Fry). Which was fun. There again, I ran into Mick Jones (Clash) at the Shepard's Bush tube station, too.

My copy of the advance has some frak ups on it -- disc 2 ends 3 1/2 songs short, disc 4 has pops. Bad transfer/dub.

 

Thanks for the update Kent; I know everyone is looking forward to this

 

Big Star box

I managed to get my hand on the advance as well. Disc 3 ends short like another person said in a previous post. The demos are incredible and worth the price of the box alone. The live disc sounds a little ragged to me, but still interesting stuff. The track list has a lot of overlap with a bootleg that mysteriously surfaced a two months ago called I Got Lost. Some of the tracks are identical. Hmmmm. An early leak perhaps?

Neil

 

Thanks for the update Kent & Neil! Please keep us posted!

Can't wait for this one..

 

Not uncommon. The Who Box set and the unreleased stuff from Biograph was booted well ahead of the actual release.

 

What can we expect from the physical packaging on this set? Jewel boxes, digipacks, ?

 

100 page book and separate CD wallet all in a slip cover

 

They sent replacements out for the defective disc two on the advance. Mine arrived last night. Those last coupla songs are all great, acoustic demos for Sister Lovers that has Alex still in a very 'pop' mood.

Oh, by the way, I trust Andrew and Alec Palao as always, but let me assure you the sound is really excellent, crisp, loud, and not overly compressed. I LOVED the way it all sounded.

The live stuff is I think from two shows opening for Archie Bell & the Drells. Audience mic'd, but that's not immediately apparent, because the audience is pretty much ignoring the band. At times, seriously, there's like 1 person applauding. Tho they do chat (rather quietly) throughout. Very heavy on ballads, but just really ripping away on the rockers. A very, very high energy set. Chilton's guitar is terrific, and this being the first time most of us have heard them live with Andy, I've gotta say Andy is by far the better bassist than John Lightman on the more familiar live stuff we know from some 15 months later. I do wish more of the in between chat had been left in, but I imagine there was a minute or more in between most songs. So it would've really slowed down the flow of it (it's edited as if they played like the Ramones: song/song/song/song no air between). Jody's drumming is great.

 

Kent you make the assumption that Big Star intro'd and spoke between the songs - they did not. Every bit of talking there was intro wise is on the final disc. The only thing cut out was dead air. When you play for an audience not into you, you tend not to regale them with trivialities like song titles and your life story. Big Star just played great music at these shows to one or two people who clapped (probably their girlfriends)!

 

Ah. Well, you know what they say when you 'assume....'

I assumed it was edited down. My bad.

That said, Andrew, I've seen Alex play to 10 people and talk for several minutes between songs. Altho come to think of it, that was mostly Ross, the drummer....

It's all good.

 

Nope, its still available, as I just got a copy in the mail today:

http://www.tuneray.com/Rock-City_p_10.html

 

Shoot an email to Dr. Rhino and ask.
http://www.rhino.com/help/index.lasso

 

Terry's stuff is still available as far as I know.

 

Did you guys realize that the new June Fantasy two-fer of the first two albums contains the otherwise unreleased on CD original single version of O My Soul?

Apparently so.

 

Pardon?
I thought it was just a straight reissue of the old disc! I didn't know that it was included...is it also to be on the box?