conqueroo

music publicity since 6:30 this morning

Twitter Facebook

artists

FOR IMMEDIATE RELEASE
April 8, 2012

MARSHALL CRENSHAW’S SECOND
SUBSCRIPTION-SERIES EP IS STRANGER AND STRANGER

Released in limited edition for Record Store Day,
new three-song vinyl EP due for wide retail release on May 7.
Contains new original, Carpenters cover
and a remake of his own classic “Mary Anne”

NEW YORK, N.Y. — Last fall, Marshall Crenshaw announced his launch of a subscription whereby his fans could receive a series of three 10-inch vinyl EPs, each of which would include a new A-side backed with a cover song and a remake of a song from his earlier career. The EP I Don’t See You Laughing Now kicked off the series last November on Record Store Day’s Back to Black Friday, garnering both critical acclaim and a wave of news stories on the new business model.

Crenshaw will release a second EP, Stranger and Stranger, in a limited edition of blue vinyl, to brick-and-mortar retail on Record Store Day (April 20, 2013) with an official release date of May 7, 2013. The EP contains the title track, a cover of the Carpenters’ “Close To You,” and a remake of his own “Mary Anne,” which he originally recorded in 1982.

Of his new A side, “Stranger and Stranger,” Crenshaw says, “I’m really proud of the song. On my last tour with the Bottle Rockets I was opening the set with it, which indicates pride, right? Lyrically it describes somebody in the aftermath of a loss, maybe the end of a relationship, trying to push back against feeling like the world's turning upside down, falling apart, etc.”

Crenshaw was joined on “Stranger and Stranger” by Bryan Carrott on vibraphone. “I really loved his playing on an album with Sam Rivers, called Purple Violets, and asked him if he wanted to come by and help me out,” he says. “We had a fun session at Excello Recording in Brooklyn on Dec. 14, 2012, which later turned into such a Hell of a day. My Dad passed away that afternoon; his photo is on the back of the EP. He always took the music that I made very much to heart and I'm sorry of course that he won't be around to hear this new stuff.” Also joining in on the track are bassist Byron House (Band of Joy, Buddy & Julie Miller, Jim Lauderdale), and Manuel Quintana, percussion. “I’ve known Byron since the early ’90s, when he was with Foster and Lloyd.”

The EP contains a cover of the Carpenters’ “(They Long To Be) Close To You,” a tribute to Karen Carpenter. According to Crenshaw, “To me that’s one of those records that’s pure brain candy, but artful and beautiful. It used to have the same kind of effect on me as ‘California Girls,’ kind of a trance-inducing thing. I thought that doing it would be an interesting challenge for me and that the end result would hopefully get a rise out of people.” Crenshaw recorded the basic track himself on drums, bass, and guitar, and, he explains, “I don’t have a piano in my studio so I asked the great Rob Morsberger to help me out with that. He wound up being absolutely invaluable to the whole thing, supervising the orchestration, etc.” The other players are Lisa Morsberger, flute; Suzanne Ornstein, viola and violin; and Glen Burtnick and Jeffrey Foskett “on East and West Coast backing vocals, respectively.” The famous Herb Alpert trumpet solo on the Carpenters’ version is echoed by jazz player Steven Bernstein, a veteran of the Lounge Lizards, Aretha Franklin and Hal Willner. Crenshaw: “And then the whole thing kind of explodes at the end; I've gotten a lot of gasps of disbelief from people who’ve heard this track.”

Each Crenshaw EP contains a re-imagining of a previously released original, and for the new one he chose “Mary Anne” from his 1982 debut album. Crenshaw explains: “It’s a version I did about five years ago for a film called God Is D*ad, directed by Abraham Lim. I thought the movie was really good but it never found a distributor. This version was done with acoustic instruments, bongos instead of a drum set, and, of course, me sounding old instead of young.”

Those wishing to subscribe to Crenshaw’s vinyl releases may do so at http://www.marshallcrenshaw.com, with a subscription link at http://bit.ly/ZqwoYG .

As Crenshaw told Billboard magazine, when the box of I Don’t See You Laughing Now vinyl EPs arrived at his house, “I got the same sense as when I got my first record on Shake Records in 1980. I love the way it came out.”

The new media tip sheet Hypebot called the subscription program “a focused offering from a man [who] knows his fans.”

Marshall Crenshaw: the back story:

Over the course of a career that’s spanned three decades, 13 albums and hundreds of songs, Marshall Crenshaw’s musical output has maintained a consistent fidelity to the qualities of melody, craftsmanship and passion, and his efforts have been rewarded with the devotion of a broad and remarkably loyal fan base.

After an early break playing John Lennon in a touring company of the Broadway musical Beatlemania, the Michigan-bred musician began his recording career with the now-legendary indie single “Something’s Gonna Happen,” on Alan Betrock’s seminal Shake label. His growing fame in his adopted hometown of New York City helped to win Crenshaw a deal with Warner Bros. Records, which released his self-titled 1982 debut album. With such instant classics as “Someday, Someway” and “Cynical Girl,” that LP established Crenshaw as one of his era’s preeminent tunesmiths — a stature that was confirmed by subsequent albums Field Day, Downtown, Mary Jean & 9 Others, Good Evening, Life’s Too Short, Miracle of Science, #447, What’s in the Bag? and Jaggedland.

Along the way, Crenshaw’s compositions have been successfully covered by a broad array of performers, including Bette Midler, Kelly Willis, Robert Gordon, Ronnie Spector, Marti Jones and the Gin Blossoms, with whom Crenshaw co-wrote the Top 10 single “Til I Hear It From You.” He’s also provided music for several film soundtracks, appeared in the films La Bamba (as Buddy Holly) and Peggy Sue Got Married, and was nominated for a Grammy and a Golden Globe award for penning the title track for the film comedy Walk Hard: The Dewey Cox Story. Crenshaw also authored a book about rock movies entitled Hollywood Rock, and has assembled compilation albums of the music of Scott Walker and the Louvin Brothers, as well as the acclaimed country collection Hillbilly Music . . . Thank God!

Since 2011, he has hosted his own radio show, The Bottomless Pit, on New York’s WFUV, Saturday nights at 10 p.m. ET.

# # #

 

FOR IMMEDIATE RELEASE
September 24, 2012

THERE HE GOES AGAIN

Beloved veteran rocker Marshall Crenshaw helps pioneer a new music-distribution model with EP subscription vinyl/download series

First EP of the series, I Don’t See You Laughing Now, set for November 23 release

NEW YORK, N.Y. — “I wanted to think of a different way of working that would inspire me and keep me motivated,” Marshall Crenshaw says of his newest endeavor: a subscription-only service that addresses the recent seismic changes in the music-industry landscape by cutting out the record-company middle man to distribute his new recordings directly to fans.

The subscription service, which the veteran singer/guitarist/songwriter/producer recently launched via a successful Kickstarter funding campaign, will provide fans with a steady stream of new Marshall Crenshaw music via a series of exclusive three-song 10-inch, 45-rpm vinyl EPs on Addie-Ville Records, six of which the artist plans to release over a two-year period. In addition to the vinyl discs, subscribers will also receive a download card for high-quality digital versions of the EP tracks.

Each EP will consist entirely of newly recorded, never-before-released material, encompassing a new original Crenshaw composition, a classic cover tune, and a new reworking of a time-honored favorite.

“I really do think that vinyl sounds best, and that playing a vinyl record is still the optimum listening experience,” Crenshaw asserts. “And with the sound quality that you get at 45 rpm, I think that these things are going to deliver the goods, sonically.”

The first subscription EP’s A-side is the brand-new Crenshaw number “I Don’t See You Laughing Now,” recorded with longtime cohorts Andy York (John Mellencamp, Ian Hunter), and Graham Maby (Joe Jackson, They Might Be Giants). The record’s double B-side features a memorable new reading of The Move’s 1971 post-apocalyptic anthem “No Time,” recorded with veteran New Jersey rocker and frequent Crenshaw collaborator Glen Burtnick; and a new version of “There She Goes Again,” whose original version appeared on Crenshaw’s eponymous 1982 debut album, recorded live with alt-country icons the Bottle Rockets.

All three tracks were mastered for maximum awesomeness by legendary engineer Greg Calbi, who will handle mastering duties on the entire EP series.

Earlier this year, fans made the subscription project a reality by pledging more than $33,000 to Crenshaw’s Kickstarter campaign, above and beyond Crenshaw’s original goal, in increments ranging from $1 to $5000.

Crenshaw is excited that his new subscription model allows him to embrace his love for singles, while allowing him to make music on his own terms, free of record-company politics and the emotional baggage that routinely accompanies the making of full-length albums.

“I’ve always put a great deal of care into the albums I’ve made,” Crenshaw states. “But as a listener, I’ve always been a singles guy and an individual-tracks guy. I’m looking forward to creating a steady output of music in small batches, rather than being stuck in a cave for months and stockpiling a whole bunch of music and dumping it out all at once. Now, when I finish something, I get to put it out, instead of having to wait until I’ve got 12 more.”

Over the course of a career that’s spanned three decades, 13 albums and hundreds of songs, Marshall Crenshaw’s musical output has maintained a consistent fidelity to the qualities of melody, craftsmanship and passion, and his efforts have been rewarded with the devotion of a broad and remarkably loyal fan base.

After an early break playing John Lennon in a touring company of the Broadway musical Beatlemania, the Michigan-bred musician began his recording career with the now-legendary indie single “Something’s Gonna Happen,” on Alan Betrock’s seminal Shake label. His growing fame in his adopted hometown of New York City helped to win Crenshaw a deal with Warner Bros. Records, which released his self-titled 1982 debut album. With such classics as “Someday, Someway” and “Cynical Girl,” that LP established Crenshaw as one of his era’s preeminent tunesmiths — a stature that was confirmed by subsequent albums Field Day, Downtown, Mary Jean & 9 Others, Good Evening, Life’s Too Short, Miracle of Science, #447, What’s in the Bag? and Jaggedland.

Along the way, Crenshaw’s compositions have been successfully covered by a broad array of performers, including Bette Midler, Kelly Willis, Robert Gordon, Ronnie Spector, Marti Jones and the Gin Blossoms, with whom Crenshaw co-wrote the Top 10 single “Til I Hear It From You.” He’s also provided music for several film soundtracks, appeared in the films La Bamba (as Buddy Holly) and Peggy Sue Got Married, and was nominated for a Grammy and a Golden Globe award for penning the title track for the film comedy Walk Hard: The Dewey Cox Story. Crenshaw also wrote a book about rock movies entitled Hollywood Rock ’n’ Roll, and has assembled compilation albums of the music of Scott Walker and the Louvin Brothers, as well as the acclaimed country-and-western collection Hillbilly Music . . . Thank God! Since 2011, he has hosted his own radio show, The Bottomless Pit, on New York’s WFUV, Saturday nights at 10 p.m. ET.

But it’s writing songs and making records that remain at the center of Marshall Crenshaw’s creative life, and he’s distinctly excited about the potential of his new subscription service. “I still think that recorded music is a great art form, I still love it and believe in it, and I’m still always striving for excellence. The fact that the Kickstarter thing was a success, and that people responded so well to the concept, felt like a good validation of that.”

“This is a really inspiring situation,” Crenshaw concludes, “and I think that it’s gonna be a good way for me to proceed into the future.”

# # #

 

 

Artist Photo