{"id":5374,"date":"2017-01-05T09:37:55","date_gmt":"2017-01-05T14:37:55","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=5374"},"modified":"2021-04-23T15:19:44","modified_gmt":"2021-04-23T19:19:44","slug":"top-10-reissues-of-2016","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/top-10-reissues-of-2016\/","title":{"rendered":"Top 10 Reissues of 2016"},"content":{"rendered":"

\"\"<\/a>#10
\nWhite Zombie
\nIt Came from NYC
\nNumero Group<\/h4>\n

Vocalist Rob Zombie and bassist Sean Yseult churned through five guitarists and two drummers during the band\u2019s initial four years which are covered on this meticulous (typical of Numero) collection. \u201cGentleman Junkie\u201d and \u201cBlack Friday,\u201d from White Zombie\u2019s debut 7-inch, reveal the first glimmers of the self-aware wink and the head-bang\/hip-swivel combo that the band rode to major-label stardom, while Wharton Tiers\u2019 rich production on their first full-length, Soul-Crusher<\/i>, presents the band\u2019s gnarly vision for itself in 3-D for the first time. Zombie\u2019s vocals garner their power as Yseult\u2019s singable riffs find a foil in Tom Five\u2019s guitar snarls and lock in with Ivan de Prume\u2019s drumming. Bill Laswell\u2019s work on Make Them Die Slowly<\/i> sometimes obscures the catchier riffs, but on that album and the God of Thunder<\/i> EP, you can feel the elements snapping into place. It Came From NYC<\/i> stands as a an interesting curio of the art-damaged scene that gave the band life and hints at the metal juggernaut they\u2019d become. RS<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#9
\nThe Feelies
\nOnly Life
\nBar None Records<\/h4>\n

With The Feelies now back in action, Bar\/None Records reissued the two albums the band originally made for A&M Records, 1988\u2019s Only Life<\/i> and 1991\u2019s Time for a Witness<\/i>, on vinyl and CD this year. Though the remastering vastly improves the sound of both records (they were released during the dark ages of CD sound), the former still sticks out as the band\u2019s magnum opus. It sparkles with buoyant post-Velvets jangle, while singer Glenn Mercer delivers existential aphorisms belied by their simplistic motifs. \u201cHigher Ground\u201d is On the Road<\/i> condensed to a four-minute pop song, while \u201cThe Undertow,\u201d as its title suggests, is imbued with an undeniable gravitational pull. Even better, \u201cFor Awhile\u201d is a coming of age tale\u2014not from adolescent to adult, but perhaps adult to grown-up. That the band\u2019s superb cover of VU\u2019s \u201cWhat Goes On\u201d seems like an addendum of sorts speaks to the strength of this record; in short, Only Life<\/i> is a classic. SS<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#8
\nThe Fall
\nHex Enduction Hour
\nSuperior Viaduct<\/h4>\n

If there’s one silver lining from 2016, it\u2019s that a curmudgeon like Mark E. Smith can survive, and thanks to Superior Viaduct, who has taken on a thorough re-issue campaign of The Fall’s polarizing and vast catalog, the world can re-educate themselves with the chaotic art-punk masterpiece Hex Enduction Hour<\/i>. It\u2019s a record that comes out caustic and kicking from the start \u2014\u201cHey there fuck face!\u201d\u2014and then manages to swing and lurch and scrawl all over the rules of what art is and what punk is. If The Fall even has an entry point, Hex Enduction Hour<\/i> is it. The abstract sketches and subversive melodies of guitarists of Marc Riley and Craig Scanlon reach a creative peak here, as does Smith\u2019s pointed vitriol, sharp and messy on the jangle pop of \u201cJust Step Sideways\u201d and steely and bitter on \u201cWho Make\u2019s the Nazis?\u201d In retrospect, it\u2019s dense and (dare say) heady, with chunks of noise splattered in its moody crevasses, but also stoic, even solemn, a minimal-maximalist tug-o-war with every note. Though they begat Pavement, Nirvana, and the Boredoms, The Fall will never be normalized, and Hex Enduction Hour<\/i> is proof the most influential records still have magic to discover. KJE<\/strong><\/p>\n

 <\/p>\n

\"Still<\/a>#7
\nVarious Artists
\nStill In a Dream: A Story of Shoegaze 1988\u20131995
\nCherry Red Records<\/h4>\n

Despite the somewhat pejorative tag, the shoegaze era was responsible for a sound that resonated long after it seemingly dissipated. Taking cues from the psychedelic era, but eschewing the tired hippie cliches for a modern, demure coolness, it appealed to a new generation looking to turn on. With the rush of unhinged guitars, shoegaze was at once visceral and heady. Cherry Red Records\u2019 superb five-disc Still In a Dream: A Story of Shoegaze 1988\u20131995<\/i>, captures the era with tracks from leading lights like Ride, Lush, Cranes, Chapterhouse, Swervedriver, and Slowdive, as well as lesser-heard bands such as Whipping Boy, Nightblooms, and The Charlottes, and American kindred spirits Galaxie 500, Velocity Girl, Swirlies, and The Lilys. Though My Bloody Valentine is conspicuously absent, this is an amazing volume of music from an amazing time. SS<\/strong><\/p>\n

 <\/p>\n

<\/a>#6
\nThe Flesh Eaters
\nForever Came Today
\nSuperior Viaduct<\/h4>\n

While The Flesh Eaters were capable of burning rubber with the best of LA\u2019s \u201980s punk scene, what sets them apart from the pack and makes them worth re-investigating some 30 years on is visionary frontman Chris Desjardins. Capable of shifting from a hellfire scream to a beguiling croon, and offering lyrics dripping with pulp\/noir illusions and graveyard poetics, Chris D. took punk to a new level of artistry that was almost cinematic in nature. And while some might argue that A Minute to Pray, a Second to Die<\/i> is the high-water mark, I\u2019ll contend that Forever Came Today<\/i> is the band\u2019s best album. It\u2019s big, brash, brutal, and more sonically focused than the pastiche that is Minute to Pray<\/i>, undeniably compelling. Combine the album\u2019s musical ferocity with Desjardins\u2019 mangled, elegiac soul-searching and you essentially have a masterpiece on your hands. Superior Viaduct is doing a true service keeping both of these early Flesh Eaters records in print, but if you have to pick one of the two, I\u2019d make it Forever Came Today<\/i>. NK<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#5
\nBetty Davis
\nThe Columbia Years 1968\u20131969
\nLight in the Attic Records<\/h4>\n

Betty Davis has long been one of the more under-appreciated figures in music. Her lack of commercial success kept her a cult footnote until 2007, when the Light in the Attic label began reissuing her records. They even unearthed an unreleased fourth album, seemingly exhausting the vaults. But there were also rumors of a session with her then husband, Miles Davis, for Columbia that had never seen the light of day. Miraculously, Light in the Attic discovered and released selections of those sessions this year as The Columbia Years 1968\u20131969<\/i>. The bulk of the release was co-produced by Miles and Teo Macero and includes performances from Herbie Hancock, John McLaughlin, Billy Cox (Band of Gypsys), Mitch Mitchell (Jimi Hendrix Experience), Harvey Brooks, Wayne Shorter, and Larry Young. There are also another three tracks from a separate session produced by Hugh Masekela and featuring members of The Jazz Crusaders. The album is the sound of Betty, literally and figuratively, finding her musical voice. The Miles session band didn\u2019t rehearse prior to the tape rolling so you can hear them working towards something, with the added bonus of hearing both Miles and Betty on studio chatter. It\u2019s a fun look at the earliest glimpse of the latter day Betty as well as the seeds of what would become Bitches Brew<\/i>. It\u2019s a delightful surprise. DSH<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#4
\nLarry Levan
\nGenius of Time
\nUniversal Music<\/h4>\n

New York DJ and producer Larry Levan\u2019s wide-ranging taste and curatorial mind, fused with his understanding of what works on any track he worked on, planted powerful roots in dance music that still bear fruit some 30 years later. This joyous, addictive sampler of remixes and edits showcases the crucial elements even as it omits some iconic work. These songs simultaneously expand in all directions and retain an openness for whatever comes.\u00a0 The chug of guitar and bass recede to the background on tracks like Peech Boys\u2019 \u201cLife Is Something Special\u201d and the instrumental dub of Smokey Robinson\u2019s \u201cI Don\u2019t Love You,\u201d making way for insidious, simple hooks, braided in beguiling patterns. Gwen Guthrie\u2019s \u201cPeanut Butter\u201d drenches chopped drum patterns and a soaring vocal in echo for mystery and a three-dimensional quality. And tunes like Man Friday\u2019s \u201cLove Honey, Love Heartache\u201d show respect for the form of the song as sweetly melancholic vocals spar with drum beats hard as granite. There isn\u2019t a dancefloor that wouldn\u2019t sway and spark to this. RS<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#3
\nVarious Artists
\nWayfaring Strangers: Cosmic American Music
\nNumero Group<\/h4>\n

This wonderfully bizarre collection documents that mostly unheard moment in American roots music which occurred after the Flying Burrito Brothers got started and before the Eagles took over. At their best\u2014as on Kelly Heiderman\u2019s \u201cSleep a Million Years\u201d and \u201cTravelin\u2019\u201d from Jimmy Carter and Dallas County Green\u2014these dusty discoveries deliver California hooks with a Tennessee lilt, rock drums with plenty of steel guitar, and an occasional dose of hippie ideals. Wanna hear The Mamas & the Papas singing cowboy songs? Try the Black Mountain Gang. Can you imagine Waylon Jennings fronting the Doobie Brothers? Give Allan Wachs\u2019 \u201cMountain Roads\u201d a spin. What is most common in these songs is that essential element of great country music: solitude. Listening to this collection may create the impression of a cohesive scene, but in fact these sibling voices were separated by mountains, deserts, and miles of lonely wilderness. MS<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#2
\nDow Jones and the Industrials
\nCan’t Stand The Midwest 1979\u20131981
\nFamily Vineyard Records<\/h4>\n

A lot of people still think of punk\u2019s formative years as the domain of the great and mighty New York City. And while the Rotten Apple\u2019s contribution to the development of that heralded mutant strain of rock & roll is undeniable, there were disaffected oddballs making a racket all over the country in the late 1970s. Offering a cracked view of the waning days of the rust belt, punctuated by acne-scarred angst and Devo-esque art rock fidgeting, Indiana\u2019s Dow Jones and the Industrials were one of the more intriguing\u2014if largely forgotten\u2014bands of the era. The stuff of collectors and obsessives for many years, Dow Jones and the Industrials\u2019 prime output is finally available for wider and convenient consumption thanks to Family Vineyard\u2019s 2016 collection, Can\u2019t Stand the Midwest 1979\u20131981<\/i>. An essential reissue for malcontents and freaks this great nation over. NK<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>#1
\nThe Scientists
\nA Place Called Bad
\nNumero Group<\/h4>\n

Frequently excluded from the pantheon of the punk era, The Scientists seemingly were born from obscurity (Perth, Australia in the \u201970s) and then proceeded to eventually return from whence they came. However, over the course of a decade-long existence, they pieced together an iconoclastic sound by fusing pop elements with remnants of the Stooges, Cramps, and Suicide, creating a catalog that is every bit as enthralling as that of their contemporaries. Fortunately for us, this year, the always reliable Numero Group gathered up the entirety of The Scientists\u2019 recorded output and bundled it with a newly unearthed live recording and a 64-page booklet. This handsome box reveals head Scientist Kim Salmon as a musical force of nature as he manages to get to the nub of human emotion in all its varied forms, whether howling in despair or singing nonplussed of the ennui of life. You want to talk about the real junk? This is it. SS<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

#10 White Zombie It Came from NYC Numero Group Vocalist Rob Zombie and bassist Sean Yseult churned through five guitarists and two drummers during the band\u2019s initial four years which are covered on this meticulous (typical of Numero) collection. \u201cGentleman Junkie\u201d and \u201cBlack Friday,\u201d from White Zombie\u2019s debut 7-inch, reveal the first glimmers of the […]<\/p>\n","protected":false},"author":17,"featured_media":5366,"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":true,"_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":[1866,1865,1867,1863,1655,1868,1864,1862],"class_list":["post-5374","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year","tag-betty-davis","tag-dow-jones-and-the-industrials","tag-larry-levan","tag-the-fall","tag-the-feelies","tag-the-flesh-eaters","tag-the-scientists","tag-white-zombie"],"yoast_head":"\nTop 10 Reissues of 2016 - 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