How Henry Rollins & Co. are Releasing The Cramps' Holy Grail Recordings
Henry Rollins talks about his role in releasing a new trove of lost recordings by punk legends The Cramps, how The Cramps Inc. is restarting their record label Vengeance and the importance of preserving musical history.
0:00 - Discovering the Cramps
8:00 - Finding their lost recordings
22:00 - A fully-formed band
30:00 - Doing right by the artists
38:30 - Interpreting the band's intentions
45:00 - Poison Ivy's archives
48:00 - The importance of preservation
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Mason Jones: I've heard a number of people refer to Rallizes as "Japan's answer to the Velvet Underground," which rings true in part because of the bands formed in their wake. While they were never well-known, perhaps "notorious" is a better description. Their influence leaked out over years, and their shadowy presence and noisy psychedelic swirl can be traced to many independent bands. I doubt that Keiji Haino would regard them as much of an inspiration for Fushitsusha, but there's at least a visual aesthetic that's even more visible in Kousokuya and Kaneko Jutoku's work and lurks behind many other bands related to the PSF label such as Shizuka and High Rise. Some of Japan's psychedelic underground readily admit Rallizes' inspiration, such as LSD March, Up-Tight, and Overhang Party.
Where the Boredoms inspired an entire Kansai scene of anything-goes indie anarchy, Les Rallizes Denudes infiltrated a smaller but no less impactful network of smoke-drenched psychedelic players. The heavier, noisier aspect of Rallizes is better-known outside Japan, but from the deep, slow strums of Suishou no Fune to the quieter aspects of Majutsu no Niwa and LSD March, the softer side is definitely there as well. That said, I've certainly always been more attracted to their more crazed, no-holds-barred work like that on '77 LIVE and bootlegs like Blind Baby Has Its Mothers Eyes. The 1980 Live and Soundboard collection (10 CDRs!) and Double Heads boots are also among the better ones, but in truth over the years it's been nearly impossible to untangle the recordings spread across dozens and dozens of poorly assembled bootleg releases. Seeing properly mastered and collected releases coming out now is very, very welcome.
Ian Mathers: Which brings up one of the biggest questions I have about all this: how does one âproperlyâ master something like '77 LIVE? I think it sounds fantastic, so I clearly agree with the choices made, but I wonder what's involved and what's different about working with source material like that.Â
Mason Jones: It's hard to say. In this case, it's possible that they have the original tapes, whereas the versions I've heard before are probably second generation or worse; very possibly duped from an old LP or cassette! However, I'm listening right now and comparing the old Le 12 Mars 1977 aÌ Tachikawa bootleg I have, which is the same as '77 LIVE â same track lengths and all. The older bootleg feels slightly thinner and hissier, but interestingly it doesn't sound as much worse as I recalled. That one has a long history of unofficial re-releases, as shown on its Discogs page. The old bootleg I have of Mizutani is certainly improved on by the new reissue, with a great deal more clarity. I don't seem to have any previous releases that correspond to the '67 - '69 Studio et Live reissue, which is an intriguing collection of ragtag recordings.Â
Ethan Covey: Itâs funny you mention mastering as there was a minor Twitter flare up a few days back when someone posted a screenshot comparing audio files from the old CD release of â77 Live with the new edition. It looked as if the dynamic range on the new release was crunched/maxed out/whatever the correct terminology is, versus a more forgiving mix on the CD. And there was the accompanying grumbling that modern mastering â especially on a release like this â is all about volume at the expense of subtlety. I havenât listened to the new â77 Live yet but have to say the mastering on The OZ Tapes sounded fantastic compared with previous versions of that material. I look forward to listening to the LP (if it ever arrives), and digging into these ânewâ ones.Â
Mason Jones: Yeah, I can see that. Listening to my old CD copy versus the new one, while I haven't compared the files specifically there's certainly more modern compression on the new release. That's fairly typical these days. To my ears, it doesn't seem excessive, but it'll take more listening to let it sink in for sure. I do have to chuckle a bit about the idea of "subtlety" dealing with blown-out live recordings like these. As you say, though, I'm waiting for my LP copies to arrive, which will be a better test than mp3s.Â
Mason Jones: That's an interesting question, Bryon. I really don't have a solid answer but can make some guesses. The sequence you list is accurate, and these three albums essentially document three phases of the band: the first lineup from '67 to '69. The acoustic work on Mizutani was him sort of on his own (with some others playing with him) during the period when there wasn't a full band. Then in 1970 he moved to Tokyo and started with a new lineup. Takeshi Nakamura, who started the band with Mizutani, was quoted as saying "The live shows were really high volume from the very beginning" so the shift from garage-y as you describe it to the more out-there tracks might have just happened naturally due to the almost complete change in band members. But who knows, perhaps some of it's simply the selection of tracks we're hearing!
Ian Mathers: I am sympathetic to "loudness war" type concerns, generally, but I have to admit the notion that the stuff here that I really like would not be brickwalled seems a little funny. Interesting to know that aside from Mizutani himself there was a pretty complete change of personnel; I still kind of wonder, given the more standard/quality production on those earlier records, how much the production, not just the playing, on '77 Live was a deliberate aesthetic choice. Do we know if it's more a case of them playing high-volume shows with recording equipment that just wasn't up to the task, in unexpectedly glorious ways, or is there any indication they were leaning into that part of their sound (whether that's using equipment a step down from what they could, or playing in certain ways, or the recording process, or mixing, or...)? Any answer isn't going to make me like that sound less, to be clear - I have no stake in this being some variety of outsider or accidental art. I do wonder if when they first heard the tapes they went "great!" or "oh no..." though.  Â
Mason Jones: Yeah, it's hard to say whether the sound was intentional or not. In the case of the live recording, it's worth keeping in mind that in Japan it's unusual for bands to have their own equipment aside from the instruments and effects -- the live houses have amps and drums that the bands use. Since so few people drive, it's uncommon to be able to bring your own stuff. That means the amps they were using would have been the house amps, although '77 Live was recorded at Tachikawa Social Education Hall; who knows if they had a regular backline or rented equipment for the show. In any case, who knows how they felt about the tapes when they first heard them.
The overblown sound, though, was almost certainly the primary influence for Nanjo Asahito's recording and mastering approach for the first High Rise albums and later work that he did. Those recordings were infamous for the brick wall limiting, pushing everything into the red. I don't know for certain but given Nanjo's appreciation for Rallizes I'd be shocked if the sound of '77 Live wasn't the initial inspiration for that approach.Â
Bryon Hayes: According to the information I've scrounged online, not only was the band notoriously loud, but they were also accompanied by a frenzied lightshow, beginning with their earliest performances. Apparently Mizutani coined the term "total sensory assault" to describe the experience and it is claimed that was the goal from the start. Of course, given the amount of speculation and conjecture that surrounds the band, this could be a red herring. In some respects, I hope that as Temporal Drift release more material, the mystery will slowly unravel, but I also kind of enjoy the mystique.
Old Nancy Sinatra and Lee Hazlewood video: Some Velvet Morning
Old Nancy Sinatra and Lee Hazlewood video: Some Velvet Morning
Video: Nancy Sinatra & Lee Hazlewood â âSome Velvet Morningâ
From Nancy & Lee, reissue out May 20 on Light in the Attic.
This is great. Light in the Attic is reissuing Nancy & Lee on vinyl, cassette, eight-track, and compact disc with remastered audio from the original analog tapes, unseen photos from Nancy Sinatraâs personal archive, and two bonus tracks from the album sessions. Theyâve alsoâŠ
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Back in 2011, Sadie Dupuis recorded and self-released her first songs under the name Speedy Ortiz. Now, in honor of the bandâs 10th anniversary, that early collection is being reissued as a double LP titled The Death of Speedy Ortiz & Cop KickerâŠForever. Comprising tracks on the Cop Kicker EP, The Death of Speedy Ortiz LP, plus a few bonus tracks âŠForever has been remixed and remastered, and itâll include a few previously unreleased tracks, liner notes written by Dupuis, and photos and journal entries from that time.