{"id":2769,"date":"2014-12-24T10:32:46","date_gmt":"2014-12-24T15:32:46","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=2769"},"modified":"2021-04-23T15:21:28","modified_gmt":"2021-04-23T19:21:28","slug":"top-10-reissues-of-2014","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/","title":{"rendered":"Top 10 Reissues of 2014"},"content":{"rendered":"

\"Grace_Jones-Nightclubbing\"<\/a>#10
\nGrace Jones
\nNightclubbing Deluxe Edition
\nUniversal\/Island<\/h4>\n

It seems like there\u2019s been nothing like Grace Jones before she crashed into the world and nothing since. Six feet tall, androgynous, and oozing terrifying sexuality, there was no way for Jones to fall into a producer puppet role. Instead, it was more about harnessing that energy and getting out of the way. After a run with disco producer Tom Moulton, she changed direction, working with The Compass Point All-Stars, who were anchored by the legendary reggae rhythm section of Sly and Robbie and producers Alex Sadkin and Island Records founder Chris Blackwell. They did a trio of records, but it was the middle of that run, Nightclubbing<\/i>, that can be seen as the definitive statement. A mix of originals and covers that merge new wave, reggae, rock and uncut Jones, it\u2019s been the blueprint\u2014or at least the inspiration\u2014for a number of movements that came after it, including punk and early DFA. But beyond that, it\u2019s just chockfull of grooves. This reissue not only features some killer remixes and extended versions, but also unearths two unreleased songs, including a cover of Gary Numan\u2019s \u201cMe! I Disconnect From You.\u201d It is nothing less than essential. DSH<\/strong><\/p>\n

 <\/p>\n

\"native_north_america\"<\/a>#9
\nVarious Artists
\nNative North America Volume One
\nLight in the Attic<\/h4>\n

Listening to the first volume of Light in the Attic’s new Native North America series, it seems very possible that without the scouring of Canadian thrift shops and trips to hamlets north of the Arctic Circle, an entire world of music may have been lost to the ages. Though much of the compilation is indicative of the influence mainstream Canadian rock and folk had on the aboriginal population\u2014the likes of Gordon Lightfoot, Neil Young, and Joni Mitchell stretched to those distant outposts\u2014there are many instances where these songs sound like they are from another realm entirely. Outside of artists like Willie Dunn, who recorded his “native” folk for the CBC, and the Chieftones, Canada’s first “all Indian band” who once toured with the Beach Boys, few of these sides have ever been heard by American audiences.<\/p>\n

Light in the Attic’s exhaustive liner notes shed light on just how important these recordings were and how many of the issues discussed\u2014threats to the environment and the rights of oppressed tribes, among others\u2014are still relevant today. Though appropriation of classic rock tropes and folkie cadences make the songs here familiar, most are tempered with a off-the-grid sensibility that place them directly in one time and place. The Nunavuk band Sugluk’s three tracks, in particular, are a highlight, a kind of light arctic psych sung in the group’s native Inuktitut, and Cree artist Morley Loon’s “N’Doheeno,” which hauntingly reverberates with a traditional rhythm, is as foreign a sound in rock as you’re going to find. KJE<\/strong><\/p>\n

 <\/p>\n

\u00a0\"pop_group\"<\/a>#8
\nThe Pop Group
\nWe Are Time and Cabinet of Curiosities
\nFreaks R Us<\/h4>\n

The Pop Group released just two studio albums before breaking up in 1981, but the reach of these post-punk Brits lasted much longer, as everyone from Nick Cave to the Minutemen to St. Vincent has cited them as an influence. This year, ahead of some reunion tour date announcements, they released a remastered reissue of\u00a0We Are Time<\/i>, a collection of live and early recordings originally released in 1981, and\u00a0Cabinet of Curiosities<\/i>, a new compilation of previously unreleased tracks and live performances, including the original version of perhaps the band\u2019s most well-known song, \u201cShe Is Beyond God and Evil,\u201d produced by Andy Mackay of Roxy Music. Other gems include \u201cWhere There\u2019s a Will,\u201d originally a split single with The Slits in 1980, and a live recording of \u201cAbstract Heart.\u201d The innovative band drew from a variety of styles, mixing\u00a0funk-flavored guitars with remnants of punk and its raw DIY aesthetic\u2014and of course, pop sensibilities\u2014as frontman Mark Stewart\u2019s distinctive voice always flirted with gleeful madness. What\u2019s striking about listening to these collections of songs now is the realization of just how far The Pop Group was ahead of its time. JR<\/strong><\/p>\n

 <\/p>\n

\"The<\/a>#7
\nThe Rock*a*Teens
\nSweet Bird of Youth
\nMerge<\/h4>\n

While there are plenty of records that literally rock your world, there are also those albums that seem to come from God on high, their every note and syllabic utterance coalescing into a potent mix of the visceral and cerebral to create something truly transcendental. Such is the case with Sweet Bird of Youth<\/i>, The Rock*a*Teens\u2019 fifth album, first released in 2000 by Merge Records, who reissued it digitally and on vinyl for the first time this year. Even when the songs seem to be held together by only the thinnest of semiotic streams of consciousness, there is a conviction that gives each its gestalt. Chris Lopez reportedly laid down the basic tracks on keyboards and guitars, then he, guitarist Justin Hughes, and bassist Will Joiner went in without the others\u2019 knowledge and added to the songs. Perhaps it is this methodology that lends the album its teetering, beautifully shambolic quality. Whatever the case, from the first harpsichord-like notes of \u201cCar and Driver,\u201d it is clear this is a very special record. With an album this tremendous, perhaps The Rock*a*Teens called it a day knowing they could do no better. Fortunately, records such as this always exist in the present, their gilded sounds never tarnished by the years. SS<\/strong><\/p>\n

 <\/p>\n

\"life_without_buildings\"<\/a>#6
\nLife Without Buildings
\nAny Other City
\nWhat\u2019s Your Rupture?<\/h4>\n

This Record Store Day reissue is a time capsule from the last moment in which indie rock bands had so little commercial prospects that they could afford to sound unprofessional. To call the album unprocessed is a cliche, sure, but in 2014 that is its prime selling point. The guitars are undistorted, the bass is inquisitive, the percussion is light as a feather, and vocalist Sue Tompkins\u2019 assertive, girl-punk delivery is immediately intriguing. The result is an album of danceable songs just waiting for some twee chorus to turn them into underdog hits.\u00a0Tompkins, though, has little interest in such things. For each song she sings a few distinct, choppy phrases, like she\u2019s throwing them at a wall again and again, trying to find the one inflection that will really stick. In between those refrains, she makes indecipherable conversation. \u201cSorrow\u201d is the one time she slows everything down, repeating, \u201cYou\u2019re beautiful but you\u2019re going to slip way,\u201d in a performance of breathtaking intimacy. Like the rest of the album, it is by turns beguiling, bizarre, and enchanting. MS<\/strong><\/p>\n

 <\/p>\n

\"slant6-soda_pop_rip_off\"<\/a>#5
\nSlant 6
\nSoda Pop * Rip Off
\nDischord<\/h4>\n

When Slant 6 debuted with Soda Pop * Rip Off<\/i> in 1994, it was a breath of fresh air blowing in the face of the prevailing testosterone-driven, archaic sounds of the times. The all-female trio channeled the wiry post-punk of its predecessors (Au Pairs, Bush Tetras, Slits, etc.) into defiant numbers that railed against love, personal politics, and the like. That 20 years later this formula still sounds just as whipsmart is a tribute to the album\u2019s strengths. Part of the record\u2019s uniqueness comes from the idiosyncrasies that come when you don\u2019t let technical dexterity get in the way of ideas. It\u2019s that brashness that is the album\u2019s greatest attribute and which makes it bristle with unmistakable gusto to this day. SS<\/strong><\/p>\n

 <\/p>\n

\"C86:<\/a>#4
\nVarious Artists
\nC86: 3-CD Deluxe Edition
\nCherry Red<\/h4>\n

It\u2019s odd to think that a promotional cassette would come to define a certain style of music, but nearly 30 years later C86<\/i>, the 23rd cassette in a series of tapes that weekly New Musical Express<\/i> offered to its readers for mail order, is still a seminal document of British music in the mid-80s and the tape\u2019s moniker has come to represent the presiding indie sound of that era. The original cassette contained 22 tracks from such notable bands as The Mighty Lemon Drops, The Pastels, and The Wedding Present, but also several others who have been lost to the sands of time. For this expanded edition, Cherry Red has added another 50 tracks, a good portion of which have either never been released before or have never appeared on CD. Cuts by the BMX Bandits, That Petrol Emotion, The Railway Children, Happy Mondays, Blue Aeroplanes, and Pop Will Eat Itself share the same dichotomy of veering wildly from one another while also possessing some the same shambolic shared sensibility. Like its original cassette predecessor (and perhaps more so), this edition of C86 reveals that self-made ingenuity and honest creativity were running rampant, resulting in a wealth of music that can never be replicated. SS<\/strong><\/p>\n

 <\/p>\n

\"David<\/a>#3
\nDavid Bowie
\nNothing Has Changed: The Very Best of David Bowie
\nColumbia\/Legacy<\/h4>\n

Many column inches have been spent over the years discussing the chameleon nature of David Bowie. However, such shapeshifting cannot be over-documented as Bowie has had more periods than some entire shelves of bands in the record shop. As a result, he\u2019s been repackaged and re-examined on a number of \u201cbest of\u201d and boxset compilations over the years. So when yet another one was announced, it was hard to see why. Nothing Has Changed<\/i> not only answers that question, it drops the mic, and then proceeds to eat your lunch. However, that\u2019s only going to be the case if you spring for the three-disc edition, as the two-CD version is just a chronological collection of songs and the vinyl version is a hodgepodge in no particular order. The three-disc is in reverse chronological order, opening with a new song, \u201cSue (Or in a Season Of Crime),\u201d and then taking a winding road backwards with remixes and unreleased and forgotten songs. There are a number of surprises, particularly on the first disc, which is latter day Bowie, but it\u2019s also surprising at how many huge songs he left off. It\u2019s a well-curated look at Bowie beyond the radio fodder, but cheeky enough to include \u201cDancing in the Streets.\u201d Just when you think you know a guy, he can still surprise you. DSH<\/strong><\/p>\n

 <\/p>\n

\"x__x\"<\/a>#2
\nX__X
\nX Sticky Fingers X
\nEktro<\/h4>\n

When he was a member of Cleveland’s seminal proto-punks the electric eels, guitarist and artist John Morton cut a towering pose (he’s been compared to pro wrestler Gorgeous George, but with a penchant for Dadaist violence) that added a layer of true menace to the band\u2019s minimalist chaos. After a move to New York, Morton formed X__X in 1979, an even more conceptual take on the sort of recalcitrant pisstake delivered by the eels. Though labeled a \u201cfake band\u201d by Morton, the art-damaged sounds found on the 2014 collection of the band\u2019s output, X Sticky Fingers X<\/i> (true to Morton\u2019s conceptual vision, the blank between the X\u2019s could be filled with the anything the band felt they needed to appropriate on a given night), are very real indeed. Comprising the band\u2019s lone single plus various live and unreleased recordings, X Sticky Fingers X<\/i> is about as nihilistic and hostile as the nascent No Wave scene could get and can truly put a listener on edge with it\u2019s apolitical take-no-prisoners rants and spiky cacophony. Yet for all Morton\u2019s talk of artistic remove and high-concept\u00a0provocation, the band could really swing too, thanks in large part to drummer Anton Fier who anchored the original line-up.\u00a0X Sticky Fingers X<\/i> is an essential document from one of punks most challenging iconoclasts, and it has some pretty good rock songs on it too. NK<\/strong><\/p>\n

 <\/p>\n

\"Unwound,<\/a>#1
\nUnwound
\nRat Conspiracy
\nNumero Group<\/h4>\n

The Numero Group, in the second of four archival releases, documents Unwound\u2019s most remarkable period of rapid evolution in glorious cardboard and black-and-white, perfectly evoking the pre-internet age of underground scenes. For two full albums, plus a disc of singles and rarities, the band alternates between punishing and hypnotizing. They\u2019re right on the edge of losing control, doing post-adolescent tension-and-release with as much emotion, more groove and licks, and less restraint than almost any of their guitar-thrashing peers. You can hear the energy of fresh inspiration on the first LP of the set, Fake Train<\/i>, on which Sara Lund transforms the band\u2019s music through her iconoclastic drumming. The trio (Lund, Vern Ramsey, and Justin Trosper) mind-melded in the first moments after Lund entered the room. A casual jam quickly shifted into a new way of making music together. \u201cI feel like we wrote half of Fake Train<\/i> that practice,\u201d Vern recalled. This music is less well-known than what followed from the group, but it was in this period that Unwound pushed their penchant for screaming, screeching release to its furthest extremes, achieving their peak of both heart and abandon. MS<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

#10 Grace Jones Nightclubbing Deluxe Edition Universal\/Island It seems like there\u2019s been nothing like Grace Jones before she crashed into the world and nothing since. Six feet tall, androgynous, and oozing terrifying sexuality, there was no way for Jones to fall into a producer puppet role. Instead, it was more about harnessing that energy and […]<\/p>\n","protected":false},"author":10,"featured_media":2758,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2479],"tags":[687,245,1046,1045,1044,803,658,95,1043],"class_list":["post-2769","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year","tag-c86","tag-david-bowie","tag-grace-jones","tag-life-without-buildings","tag-slant-6","tag-the-pop-group","tag-the-rockateens","tag-unwound","tag-x__x"],"yoast_head":"\nTop 10 Reissues of 2014 - The Agit Reader<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 10 Reissues of 2014 - The Agit Reader\" \/>\n<meta property=\"og:description\" content=\"#10 Grace Jones Nightclubbing Deluxe Edition Universal\/Island It seems like there\u2019s been nothing like Grace Jones before she crashed into the world and nothing since. Six feet tall, androgynous, and oozing terrifying sexuality, there was no way for Jones to fall into a producer puppet role. Instead, it was more about harnessing that energy and […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\" \/>\n<meta property=\"og:site_name\" content=\"The Agit Reader\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/TheAgitReader\" \/>\n<meta property=\"article:published_time\" content=\"2014-12-24T15:32:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-04-23T19:21:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"590\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Staff\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@agitreader\" \/>\n<meta name=\"twitter:site\" content=\"@agitreader\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Staff\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\"},\"author\":{\"name\":\"Staff\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/54c59a423c2d41906cd29cc4e6655ac9\"},\"headline\":\"Top 10 Reissues of 2014\",\"datePublished\":\"2014-12-24T15:32:46+00:00\",\"dateModified\":\"2021-04-23T19:21:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\"},\"wordCount\":2126,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/agitreader.com\/wp2\/#organization\"},\"image\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg\",\"keywords\":[\"C86\",\"David Bowie\",\"Grace Jones\",\"Life Without Buildings\",\"Slant 6\",\"The Pop Group\",\"The Rock*a*Teens\",\"Unwound\",\"X__X\"],\"articleSection\":[\"Best of the Year\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\",\"url\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\",\"name\":\"Top 10 Reissues of 2014 - The Agit Reader\",\"isPartOf\":{\"@id\":\"http:\/\/agitreader.com\/wp2\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg\",\"datePublished\":\"2014-12-24T15:32:46+00:00\",\"dateModified\":\"2021-04-23T19:21:28+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage\",\"url\":\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg\",\"contentUrl\":\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg\",\"width\":590,\"height\":400},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\/\/agitreader.com\/wp2\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Top 10 Reissues of 2014\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#website\",\"url\":\"http:\/\/agitreader.com\/wp2\/\",\"name\":\"The Agit Reader\",\"description\":\"a music webzine\",\"publisher\":{\"@id\":\"http:\/\/agitreader.com\/wp2\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/agitreader.com\/wp2\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#organization\",\"name\":\"The Agit Reader\",\"url\":\"http:\/\/agitreader.com\/wp2\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#\/schema\/logo\/image\/\",\"url\":\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2021\/05\/agitcom.jpg\",\"contentUrl\":\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2021\/05\/agitcom.jpg\",\"width\":339,\"height\":149,\"caption\":\"The Agit Reader\"},\"image\":{\"@id\":\"http:\/\/agitreader.com\/wp2\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/TheAgitReader\",\"https:\/\/x.com\/agitreader\"]},{\"@type\":\"Person\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/54c59a423c2d41906cd29cc4e6655ac9\",\"name\":\"Staff\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/d267130f0710b0e4fa5084a420c9158927fbfccb520ec106747cc6a3643cd578?s=96&d=mm&r=pg\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/d267130f0710b0e4fa5084a420c9158927fbfccb520ec106747cc6a3643cd578?s=96&d=mm&r=pg\",\"caption\":\"Staff\"},\"url\":\"https:\/\/agitreader.com\/wp2\/author\/staff\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Top 10 Reissues of 2014 - The Agit Reader","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/","og_locale":"en_US","og_type":"article","og_title":"Top 10 Reissues of 2014 - The Agit Reader","og_description":"#10 Grace Jones Nightclubbing Deluxe Edition Universal\/Island It seems like there\u2019s been nothing like Grace Jones before she crashed into the world and nothing since. Six feet tall, androgynous, and oozing terrifying sexuality, there was no way for Jones to fall into a producer puppet role. Instead, it was more about harnessing that energy and […]","og_url":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/","og_site_name":"The Agit Reader","article_publisher":"https:\/\/www.facebook.com\/TheAgitReader","article_published_time":"2014-12-24T15:32:46+00:00","article_modified_time":"2021-04-23T19:21:28+00:00","og_image":[{"width":590,"height":400,"url":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","type":"image\/jpeg"}],"author":"Staff","twitter_card":"summary_large_image","twitter_creator":"@agitreader","twitter_site":"@agitreader","twitter_misc":{"Written by":"Staff","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#article","isPartOf":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/"},"author":{"name":"Staff","@id":"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/54c59a423c2d41906cd29cc4e6655ac9"},"headline":"Top 10 Reissues of 2014","datePublished":"2014-12-24T15:32:46+00:00","dateModified":"2021-04-23T19:21:28+00:00","mainEntityOfPage":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/"},"wordCount":2126,"commentCount":0,"publisher":{"@id":"http:\/\/agitreader.com\/wp2\/#organization"},"image":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage"},"thumbnailUrl":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","keywords":["C86","David Bowie","Grace Jones","Life Without Buildings","Slant 6","The Pop Group","The Rock*a*Teens","Unwound","X__X"],"articleSection":["Best of the Year"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/","url":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/","name":"Top 10 Reissues of 2014 - The Agit Reader","isPartOf":{"@id":"http:\/\/agitreader.com\/wp2\/#website"},"primaryImageOfPage":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage"},"image":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage"},"thumbnailUrl":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","datePublished":"2014-12-24T15:32:46+00:00","dateModified":"2021-04-23T19:21:28+00:00","breadcrumb":{"@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#primaryimage","url":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","contentUrl":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","width":590,"height":400},{"@type":"BreadcrumbList","@id":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2014\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"http:\/\/agitreader.com\/wp2\/"},{"@type":"ListItem","position":2,"name":"Top 10 Reissues of 2014"}]},{"@type":"WebSite","@id":"http:\/\/agitreader.com\/wp2\/#website","url":"http:\/\/agitreader.com\/wp2\/","name":"The Agit Reader","description":"a music webzine","publisher":{"@id":"http:\/\/agitreader.com\/wp2\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/agitreader.com\/wp2\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"http:\/\/agitreader.com\/wp2\/#organization","name":"The Agit Reader","url":"http:\/\/agitreader.com\/wp2\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/agitreader.com\/wp2\/#\/schema\/logo\/image\/","url":"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2021\/05\/agitcom.jpg","contentUrl":"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2021\/05\/agitcom.jpg","width":339,"height":149,"caption":"The Agit Reader"},"image":{"@id":"http:\/\/agitreader.com\/wp2\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/TheAgitReader","https:\/\/x.com\/agitreader"]},{"@type":"Person","@id":"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/54c59a423c2d41906cd29cc4e6655ac9","name":"Staff","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/agitreader.com\/wp2\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/d267130f0710b0e4fa5084a420c9158927fbfccb520ec106747cc6a3643cd578?s=96&d=mm&r=pg","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/d267130f0710b0e4fa5084a420c9158927fbfccb520ec106747cc6a3643cd578?s=96&d=mm&r=pg","caption":"Staff"},"url":"https:\/\/agitreader.com\/wp2\/author\/staff\/"}]}},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2014\/12\/bestof2014.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p3Up74-IF","_links":{"self":[{"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/posts\/2769","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/comments?post=2769"}],"version-history":[{"count":9,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/posts\/2769\/revisions"}],"predecessor-version":[{"id":2787,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/posts\/2769\/revisions\/2787"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/media\/2758"}],"wp:attachment":[{"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/media?parent=2769"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/categories?post=2769"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/agitreader.com\/wp2\/wp-json\/wp\/v2\/tags?post=2769"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}