Cristina Monet-Zilkha: 1959-2020

cristina with minks on leashes

Cristina ca. 1983: Don’t mutilate my minx

This was terrible news this morning. Cristina Monet-Zilkha, better known as simply Cristina for her small, but devastating body of work for ZE Records, has died yesterday; another musician taken in the covid-19 pandemic. Her profile post 1984 was slim. She recorded a 12″ and album cut for Ursula 1000 14 years ago that was a tantalizing glimpse into her dryly biting world of deadpan kitsch and character studies as incisive as a freshly minted scalpel. But even if she had not broken the long silence following her magnum opus, “Sleep It Off,” that album would hold a dear place in every black heart of the demimonde in which she traveled.

Could she sing? Not really, but when you can write like she did, singing is of scant consequence. This artist had a pitiless and penetrating vision of human nature that was second to none. Born into a studied family [her parents were a psychoanalyst/playwright-novelist pairing] and married very well to Michael Zilkha; the heir to the UK’s Mothercare corporation, her husband was not content to be a simply wealthy. He scratched a creative itch by being one of the prime movers behind New York City’s astounding ZE Records; one of the most brilliantly curated labels I’ve ever run into. He put that trust fund into good use as a foundation for a stunning vision of art and music. Everything I’ve heard from the label was dazzling and idiosyncratic. It had style and vision that went for miles. When  Zilkha gave his wife Cristina the platform of her two albums, it could have all gone so wrong… but that viewpoint could not take into account her vivacious and probing intellect.

cristina - cover art

ZE Records ‎| US | LP | 1980 | ZEA 33007

With her first album written and produced by August Darnell; Kid Creole to most of us, her puncturing of disco’s straitjacketed norms was feeding into the rise of ZE Records and their mutant disco aesthetic. The album played like the interesting side project that any fan of Kid Creole + the Coconuts might enjoy. Even so, this did not prepare us for the quantum leap that her later work revealed.

ZE christmas album cover artt

Ze Records | UK | LP | 1981 | ILPS 7017

A big hint was given in 1981 when the “ZE Christmas Album” dropped with the next song that Cristina would release. This time a co-write with The Was Brothers. This was where I joined the story already in progress. WPRK-FM college radio played the hell out of her brilliant, nihilistic xmas anthem “Things Fall Apart.” I was immediately smitten with the emotionally devastating deadpan of the song. Sure, sure. It grooved, but I can’t imagine dancing to its bleak and damaged vibe. Not without strong drugs that I don’t take.

cristina sleep it off cover art

Mercury | US | LP | 1984 | 814 980-1 M-1

Her second album, an interminable three years later, represented a huge leap forward as she was continuing to write the lyrics to the original songs here; with music co-written with ZE royalty like Doug Fieger, Don Was, and the brain trust [Ben Brierly, Joe Mavety, Barry Reynolds] behind Marianne Faithfull’s equally powerful “Broken English.” That made perfect sense as “Sleep It Off” was the acid valentine we had been longing for in the wake of “Broken English.” The cover tunes [Van Morrison, Brecht + Weil, Sonny Throckmorton] were expertly chosen to be of a piece with the originals. A better album Don Was would not produce in the the ensuing years.

Let’s all take tonight to play any Cristina music at hand and marvel at her worldview and aesthetic. The potency of her art was a rare thing in this fallen world of pop music. When I spoke to Echorich this morning he suggested re-running my Cristina posts today if I didn’t do anything else, and I can’t think of a better thing to do, other than playing those records!

Each image below is a button to an earlier post about Cristina.

cristina - whats a girl to do label

SONG OF THE DAY: What’s A Girl To Do

cristina - things fall apart cover art

REVIEW: Things Fall Apart 7″

cristina sleep it off cover art

REVIEW: Sleep It Off DLX RM part 1

cristina - sleep it off CD cover art

REVIEW: Sleep It Off DLX RM part 2

cristina with minks on leashes

REVIEW: Sleep It Off DLX RM part 3

ZE Christmas Record 1982 edition cover art

A Young Person’s Guide To The ZE Christmas Record part 1

ZE Christmas Record 1982 edition cover art

REVIEW: A Young Person’s Guide To The ZE Christmas Record part 2

ZE christmas record cover art

REVIEW: A Young Person’s Guide To The ZE Christmas Record part 3

Ursula 1000 here comes tomorrow cover art

REVIEW: Ursula 1000 – Here Comes Tomorrow

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Posted in Deadpan Women, obituary | Tagged , | 7 Comments

Want List: That Seventh Boomtown Rats Album – “Citizens Of Boomtown” UK CD

boomtown rats - citizens of boomtown cover art

BMG ‎| UK | CD | 2020 | 538592342

The Boomtown Rats: Citizens Of Boomtown – UK – CD [2020]

  1. Trash Glam Baby
  2. Sweet Thing
  3. Monster Monkeys
  4. She Said No
  5. Passing Through
  6. Here’s A Postcard
  7. K.I.S.S.
  8. Rock ‘n’ Roll Yé Yé
  9. Get A Grip
  10. The Boomtown Rats

boomtown rats - ratlife cover artI had a vague sensation that The Boomtown Rats had come back from the great beyond a few years back. I seem to remember seeing a 7″ that manifested somewhere along the way. [checks] Nope. It was seven years ago that I chanced across evidence of the “Ratlife” 10″ single by the reformed Boomtown Rats! Like many things I see in my travels and think “by gar, I need to blog on this – I love The Boomtown Rats,” such stimuli appear and are swept from the consciousness before the all important blogging phase can result. And I had forgotten about this for a stately seven years until my Discogs feed recently alerted me to the full on album by the reunited Rats. The first in [whistles] 36 years!

This album came out on the 13th of March by the modern, trim 4-man lineup that included original members Pete Briquette, Simon Crowe, Garry Roberts, and Bob Geldof. Johnny Fingers is still A.W.O.L. and I can’t help but to think of that as a small tragedy. His playing was exemplary and I felt that he and Steve Nieve of The Attractions had largely defined the New Wave keyboard sound with their prodigious talents.

Second guitarist Gerry Cott had split the rats mothership following the [excellent] “Mondo Bongo” album of 1980. But the five members continued on for two more albums with keyboardist Johnny Fingers taking the band considerably out of their pub rock point of origin to embrace a keyboard heavy sound perfectly in sync with the dawn of the 80s in the UK. The subsequent “V Deep” and “In The Long Grass” albums didn’t have the success that the first three or four had, but I considered them to be excellent albums, if worlds apart from the early New Wave sound of the best selling “A Tonic For the Troops” and “Fine Art Of Surfacing.”

boontown rats - trash glam baby cover artNow the band have enlisted Alan Dunn [who has recorded with Dave Thomas + The Accordion Club!] to fill the Fingers-shaped hole in the band with Briquette stepping in as producer. There was a pre-release single in February; “Trash Glam Baby.” And the 7″ even had a non-LP B-side: “There’s No Tomorrow Like Today!” So how do The Boomtown Rats sound 36 years later? I have to admit, that as much of a fan as I was, I had been unmoved by anything I had heard from Bob Geldof in his solo career. The band were much more than just him, I think.

“Trash Glam Baby” was glitter pastiche that looked back at that era with more of a rock sound than the later albums had. Great Rats BVs were on tap here. A sampling of the Full Monty on iTunes revealed that this was yet another eclectic Late Period Boomtown Rats album®. Stylistically, it was all over the place. What I heard sounded more like what I imagine the band’s influences from the late 60s and early 70s to have been than their pub rock/New Wave sound. Finger’s keyboards were missed, but not fatally. But there were flies in the ointment. The eponymous “The Boomtown Rats” was these old men making house music. Be afraid. Be very afraid. “K.I.S.S.” [not a Prince cover]featured a rapper, but it didn’t slay me in the way that the final cut did. I’m still interested in adding this one, for sure.

The majority of the album sounded good to me but who knows when I might actually buy this for a review. Since I have the first six Rats albums, there would have to be a Rock G.P.A. generated by this seventh album. I had thought about doing one for ages and now it really should happen, since The Boomtown Rats were one of the gateway New Wave bands of 1978-79 to me.  I considered them up there with Elvis Costello + The Attractions in that time period and I have to say that apart from the somewhat tentative debut album being steeped in merely good Pub Rock that they soon left behind, there’s not any dead wax in their oeuvre. We’ll have to see how this new one stands next it its brethren.

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Posted in Core Collection, Want List | Tagged , , | 4 Comments

Splendid Beauty In A Chaotic World: The Return of White Door Imminent

white door the great awakening cover art

Progress Productions | Sweden | CD | 2020

White Door: The Great Awakening – SE – CD – [2020]

  1. Among The Mountains
  2. Resurrection
  3. Soundtrack Of Our Lives
  4. Lullaby
  5. Angel Of Tomorrow
  6. The Great Awakening
  7. Simply Magnificent
  8. Beautiful Girl

A few months ago, we were looking into the one and only [at that time] album by White Door; a shimmering example of synthpop that came soaring out of the dying embers of a Prog band named Grace. Their one album was a little exquisite, if obscure, and was only issued on CD by Cherry Red in 2009. It’s now an OOP rarity. But we have the chance to hear them anew on April 17th of 2020!

All three original members [Mac Austin, Harry + John Davies] were reuiited along with fourth member/producer Johan Baeckström of Daily Planet, a Swedish I’d not heard of but were highly recommended for any fans of Vince Clarke! Apparently, three years ago on the Daily Planet album “Play, Rewind, Repeat” Baeckström enlisted vocalist Mac Austin to lend his dignified voice to “Heaven Opened,” a track that was White Door in all but name as we can hear below.

From this seed grew the new White Door album and judging from the pre-release single of “Among The Mountains,” it’s a seamless fit with their debut album of <whistles> 37 years ago.  They even still use Harry Davies flute in the instrumentation! Listen and believe below.

Swedish label Progress Productions will be releasing the eight track album on CD and LP next month and the CD is $17.00 now, but judging from the Cherry Red “Windows” experience, it’ll be trading hands in the future for a lot more than that. The LP will cost more, and if I were a guy who invested in things, maybe I’d buy one to keep around for a rainy day. The 180g edition is in a pressing of just 300 for $27.00. of course, we must factor in shipping from Sweden for both of these physical goods. Immaterial fans who just want MP3/FLAC/WAV can deal directly with the bands Bandcamp store for, uh, 75 Swedish Kroner. Me? I’m a physical guy. That CD has my name on it if I can dare to spend money on music this year. If you are too, hit that button and do the deed.

communist purchase button

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Posted in New Romantic, Want List, Your Prog Roots Are Showing | Tagged , | 6 Comments

Without Lunch Hours, It’s Uncharted Waters For Post-Punk Monk

ballardian overpass

The end of civilization? Not quite.

Almost 2000 postings into this blog over the last 9+ years and right now one of the foundations that has allowed me to pursue this interesting activity is about to end for a while. That is, my lunch hours. I didn’t plan on blogging. I always thought that I would have time better spent doing other things. Things I had to do, like housework. or things I would rather do nothing else than, like making the CDs I want to make. But when commenting on my friend Ron’s music blog during lunch time at my desk, having eaten, I realized that this was my perfect hour to do anything I wanted. I was at my desk, not at home. I could browse the internet or read a book, but after leaving comments 2-3x the size of some of Ron’s posts, I realized that I was already blogging during my lunch hour. Why nor make it official? So in the summer of 2010, I did. And we’re still here.

The sanctity of my lunch hour is often compromised. If I have to re-arrange my work schedule for any reason, often it will be sacrificed to meet my 40 hours a week. I have to make trips to mail any music that sells in my discogs store, and that cuts my time sharply. Then I’m often just too busy to take a lunch hour at all. There’s vacation and travel.  If I have the time, I try to re-run an older posting but don’t always do that. And there’s days when I’m snowed in at home and can’t come to work. You get the picture. That’s why out of 52 weeks a year to blog, five days a week [which would be 260 posts] we manage to get around 200 a year here at PPM. We’re only human.

But as of tomorrow, I’m on Stay Home status in my county. I won’t be coming to work for two weeks. I will be trying to work from home during that time, but will it be an hour taken for lunch every day? Probably not. It’s pretty much up in the air right now. Being at home changes everything. I will have many other things I could be doing. Besides, my work is such that I rarely take a lunch hour at the same time every day, owing to pressing needs by my co-workers and the demanding owner of the company. So what I’m trying to say is that I may not be blogging very much in the immediate future. I may schedule old posts that never got sufficient love in the earlier years of PPM. We’ll see. I hate to make any promises since things are so disrupted right now. It’s not like I’ve been a beacon of stable posting in the last two weeks in any case. I was furiously trying to get ready for the UK trip that ultimately didn’t happen and now my daily schedule is getting a major disruption. At the very least I hope to run some redux posts.

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Posted in metablogging | 18 Comments

Bill Rieflin: 1960-2020

bill reiflin

William Rieflin drummed and played keys with King Crimson recently

This morning while chatting with Gavin from the comments, he dropped the news that Bill Rieflin had died yesterday. Mr. Rieflin was a player with a wide expanse of work but since he first came to my attention in the mid-80s as part of the Wax Trax “industrial” wave that kept lapping at our shores ever since, I suppose I’ll always associate him with that genre. I think it was in The Revolting Cocks where I first heard his name. I surely heard this band in clubs and on college radio, but I never took the bait, even though there were a lot of bands I made time for since the horror of the matter was that, though prolific, there weren’t enough Cabaret Voltaire releases for my liking. So I bought quite a few releases on the Wax Tax label at the time. The only Revco [as they were known informally] release I ever bought was a WLP 12″ of their banned cover of Olivia Newton-John’s “[Let’s Get] Physical.” which I don’t think I ever even listened to. Maybe it was because I was familiar with the record’s flip side, “[Let’s talk] Physical,” which looped a few seconds of the A-side track for over ten minutes of audio torture. I just ran across a copy at a record show in the 90s and it was not perilously expensive, and I seemed to have plenty of money then. Good thing too, as I sold it off years later during a time when money was tight

Rieflin’s industrial period also encompassed many, many bands that I remember hearing in clubs: 10,000 Homo DJs, Lard, Ministry, Pigface, Revolting Cocks, Nine Inch Nails, and dang, he was even in KMFDMI I did not know that. Alas, that came after I stopped paying attention to them. I once saw Nine Inch Nails open for Peter Murphy. Did I also see Rieflin then? I can’t really remember that show now. I liked the 10KHDJ cover of Black Sabbath’s “Supernaut” but my tolerance for Wax Trax had ebbed by the mid 90s, and I had never bought that CD5 I remember seeing.

By the late 90s, R.E.M.’s drummer, Bill Berry opted out of that very popular band. Rieflin was the man offered the drum stool. Such was his reputation by that point in time that he could get handed the drumsticks to one of the biggest bands in the world. Obviously, he had eventually grown out of the Wax Trax industrial ghetto where he had sprouted. Eventually, once R.E.M. became tabled, the next group he made waves with was one of my favorites this time.

Robert Fripp’s reactivation of King Crimson following a year of  retirement in 2012 was not  exactly foreseen by this Monk. But the big band he pictured in his mind’s eye was led by three drummers, including Rieflin. I waited four years patiently for King Crimson with their best ever lineup to come within spitting distance, and when they did in 2017, I was on it like white on rice. Alas, Rieflin opted out of that leg of the “Radical Action” tour and it was at that time that I surmised that he may have had a cancer battle going on, which was confirmed yesterday. So I never got a chance to see him play with this amazing band. Worse still, his wife died of lymphoma a year ago in in 2019 so he had lost that bedrock in his life near the end.

When I rifled through my virtual record collection, I was astonished to see that i only had seven releases with Rieflin playing! He guy was so ubiquitous that I thought for sure it would be at least a dozen. Most of them are King Crimson releases. But one of my favorites with him playing was the “Whiplash Boychild” album by Revco’s Chris Connelly, wherein the singer really stretched out of the shadow of Al Jourgensen to reach for a Scott Walker vibe that really worked like a charm.  And then on a visit to Nashville to catch Bryan Ferry, I ran across the only album I’ve ever seen by The Humans; the Toyah Willcox combo that Rieflin was a member of. The “Sugar Rush” album was some strong Art Rock with the complex melodic sense of Crimson in a simpler, more direct wrapper. Fripp [a.k.a. Mr. Wilcox] guesting didn’t hurt a bit. I need the first two of those but I never see any Toyah/Humans in The States any more.

Finally, I did end up buying one Ministry release that came after their Arista period that Rieflin contributed to. I still own the “Jesus Built My Hotrod” US CD5 and in 2020 that’s quite a statement from me. Not much survived my mid-90s “Industrial Purge.” I put it down to the participation of Gibby Haynes, I think. I was hardly a Butthole Surfers fan, but had to admit that he added the element X that made Al Jourgensen’s efforts palatable to me that time.

With his ubiquity, I thought for certain that I had more Bill Rieflin in my Record Cell, but there’s still room for more. I can’t begin to own all of the King Crimson he’s a part of, but those first two Humans albums need to find their way into the Record Cell eventually. There are probably releases I don’t know about that would be more aligned with my mature tastes than the plethora of industrial releases that probably make up a third to half of his oeuvre. How many of these 1492 releases are in your own Record Cells? Discuss below.

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Posted in obituary | Tagged , | 19 Comments

Want List: The Vapors Return With “Together” UK CD/LP/DL

the vaoprs - together CD cover

Is that “To Get Her?”

The Vapors: Together UK CD [2020]

  1. Together
  2. Crazy
  3. Sundown River
  4. Real Time
  5. Girl From the Factory
  6. I Don’t Remember
  7. In Babylon
  8. Letter to Hiro [no. 11]
  9. Wonderland
  10. Those Tears
  11. King L
  12. Nuclear Nights

Yow! I was aware that The Vapors, one of the beloved UK New Wave acts of the ’79-’81 period had reformed for the occasional gig in the last several years, but now they’re releasing that third album in a few weeks and the first single, “Crazy,” is out there for sampling and by golly, it sounds just like The Vapors we know and love. An energetic, sharp slice of pop rock with real instruments in this unreal time. Why not sample it right now?

Wow, the influence of The Flamin’ Groovies fairly leaps from that song. I can’t believe that I have not mentioned The Vapors in almost ten years of this blog, But like many, I was attracted to the band when “Turning Japanese” became a New Wave hit, even in America! I bought their “New Clear Days” album and always had a copy in the Record Cell. I thought their second album, “Magnets,” was even better. One of the great albums of a great year; 1981. But the band weren’t able to capitalize on their initial success, and with their label [the sort of clueless United Artists/Liberty Records] and they split the scene as quickly as they came into it. Leaving us to wonder what they would do next with main songwriter David Fenton having the chops to go places, obviously. Well, where he went was to law school to become a solicitor.  So he’s had a full career outside of music, and now he’s to the point where he can do whatever he likes.

On the other hand, guitarist Ed Bazalgette also had ambitions beyond pop. He became a TV director. I’ve seen his work on the first season of the fantastic remake of “Poldark” and his credit caused my eyes to pop as I exclaimed to my spouse, “surely not the Ed Bazalgette?” [Monk looks online to amazement as spouse says “who?”] Bassist Steve Smith has kept in the rock game; playing with numerous bands, including the great Frank Tovey. Drummer Howard Smith opted to run a record store and he’s the only original member not in the reformed lineup. The drum sticks are now in the hands of Michael Bowes, while Fenton’s son Daniel also plays guitar. I remember when looking online a few years back at their reformation that Bazalgette is [obviously] busy directing at some times, so Daniel is there to play when he can’t.

It looks like “Letter To Hiro [no.11]” revisits territory from the first album.  I’m interested in seeing how. The album was produced by Steve Levine of China Crisis/Culture Club fame. The band have been in some some 80s package tours in the past few years as well as headlining some UK shows, and while no gigs will be occurring now, obviously, they had not been averse to American soil in the past. So we may yet see the tour for this album going forward. Speaking of tours, it was very symmetrical that after getting their big break on The Jam’s “Setting Sons” tour in 1979, that the 40th anniversary of that tour happened last year with Foxton and Buckler playing “Setting Sons” again… with The Vapors as the opening act once more.

The options to purchase are simple and the band have engaged with Music Glue for distribution. There will be an autographed CD for $12.86. There is also an LP [with just the 10 songs in black as listed above] for $23.16, and a bundle of both for $30.89. With a DL for the immaterialists among us for $10.29. If this is your cup of tea, then hit that button below.
communist purchase button

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Posted in Want List | Tagged , , | 14 Comments

Want List: Ultravox RSD UK Clear Vinyl 12″ With Wilson 2020 Mixes Taunts

ultravpx sleepwalk 2020 mix cover art

Kobalt | UK |12″ | 2020 | 5060516094202

Ultravox: Sleepwalk [Steven Wilson 2020 mix] – UK – 12″ clear vinyl [2020]

  1. Sleepwalk [2020 Steven Wilson mix]
  2. Waiting [Steven Wilson 2020 mix]

Gloryoski! A Record Store Day release that I actually want to buy in 2020 will happen this year. But it will happen later than the planned April 18th RSD planned due to the covid-19 impact. Record Store Day has now been moved to June 20, 2020 instead, and truth be told, I think that may be a little optimistic, given that the disease has the potential to double its victims every two days until it goes exponential. But publis health issues are not necessarily the exclusive purview of this blog in spite of yesterday’s rantings. [I’m sorry about that, by the way]

I first ran across this mentioned when negative1ne posted about this on the New Wave Outpost Forum a while back when we were hip-deep in other threads. Well, now is the time to think about this. I have been mostly “hands off” on the whole RSD thing in the last 5-6 years. I did buy the Prince “Versace” cassette a few after the feeding frenzy later last year when I found myself in a store – and regretted it when they released a CD of that title just a few months later! But this is an interesting thing for an Ultravox fan like me, because they are new 2020 Steven Wilson mixes out for the first time.

I only have a single “Steven Wilson mix;” his 40th anniversary edition of “In The Court Of The Crimson King” which came with the album in 2.0 on disc one with his 5.1 mix on DVD as well. It’s fine. His 2.0 mix is very close to the original mix with the exception of the decision to edit 4-5 min of annoying improv from “Moonchild,” which gains a lot from Fripp’s decision to act on the impulse he passed on in 1969. But Steven Wilson has done a lot of remixing for artists that I enjoy, like XTC. Just not enough to re-buy their albums again for. 5.1 listening is very far down on my list of priorities since I never sit on the living room couch to hear music.

ultravox sleepwalk US promo 12" single cover

The only other 12″ of “Sleepwalk” came out in America in advance of the “Vienna” album in 1980

This is technically the first time that the single has been on 12″ and label Kobalt have upped the ante by releasing this in clear vinyl, just like the vintage ‘Vox singles of yore. I say that because there was a US promo only 12″ of the track [same on both sides] that I think I have a copy of in the Record Cell… just because. But I can vouch that if I do have a copy, mine most certainly did not have the cool photo hype sticker that this image [LEFT] showed. As you can see, the generic Chrysalis 12″ sleeve [used from ’81-’82 for any 12″ without a custom sleeve] of the time was nothing to write home about. The new one will most definitely need to find its way into my Record Cell!

The more interesting data reveal that the A-side will be part of the “Vienna” “40th Anniversary Box” due out “this summer.”
needle ripYeah, I hope that got your attention as well. I’m actually shocked at the notion of a “Vienna” SDLX box. I thought that well had been bled dry with the 2009 “definitive Edition” 2xCD sets. How many “Vienna” reissues have we had in the 21st century?

There’s the 2xCD with B-sides/remixes/rough mixes. The recent LP reissues. The BBC live disc from the 90s. This single only reveals that Wilson has made a new 2.0 mix of the masters and the full album will be part of this box. A 5.1 of “Vienna” would be slightly interesting, but how could he top Conny Plank? [answer: he can’t]. But what else could be in the box?

Monk’s Hypothetical SDLX BOX “Vienna”

  • Disc 1: “Vienna” album, classic Plank mix
  • Disc 2: B-sides/12″ singles/rough mixes/demos? I can’t imagine more rough mixes as those in the 2009 masters weren’t very interesting.
  • Disc 3: Live concert? I would be very interested to hear some of the Foxx era live stuff from that tour that they only played in 1980. A reissue of the BBC disc would be lame. Were there any BBC sessions apart from the 1977 Foxx lineup cuts already released?
  • Disc 4: Steven Wilson 2020 2.0 mix
  • Disc 5: DVD in 5.1 + videos
  • Disc 6: Clear vinyl LP?

Price: I’m guessing more than it’s worth to me.

In a worst case scenario, it will all be on LP only with a Blu-Ray of the digital audio. It’s potentially irritating to have the rare album I enjoy get the SDLX treatment but I really can’t imagine anything compelling happening here. Do I really want to pay a lot for what has the potential to be a step down from the classic album we already know and love? I think I’ll buy the 12″ and see where I go from there.

The single always had a great B-side, “Waiting.” According to the hype, the Wilson 2.0 mix of that will only be on the clear 12″ single. So there’s that. The price will be $16.99, according to Rough Trade, who will be selling the remaining stock of this title online at noon on June 21st, 2020. Making for a cyber RSD frenzy that might be as obnoxious as the real thing. We’ll see. But I will be saving my shekels for that in any case. I hope I can get one for the base price. What do you think?

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Posted in Core Collection, New Romantic, Want List, Your Prog Roots Are Showing | Tagged , , , , | 11 Comments