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FOR IMMEDIATE RELEASE
July 17, 2012

REAL GONE’S AUGUST HEATS UP WITH REISSUES
FROM JOHNNY MATHIS’ MERCURY YEARS, DAVID CASSIDY,
AND MORE GRATEFUL DEAD DICK’S PICKS

Gary Lewis & the Playboys’ The Complete Liberty Singles returns to print

LOS ANGELES, Calif. — The summer dog days bring a diverse selection of Real Gone Music <http://www.realgonemusic.com> reissues, ideal for vacation listening. On August 28, 2012, the label will release six titles including Johnny Mathis’ Tender Is the Night/Wonderful World of Make-Believe and Broadway, an entire unreleased album from his underrated Mercury Records catalog paired with his Love Is Everything LP; David Cassidy’s Cassidy Live!, and Gettin’ It in the Street; Gary Lewis & the Playboys’ The Complete Liberty Singles; and a four-CD Grateful Dead Dick’s Picks selection, Dick’s Picks Vol. 28—2/26/73 Pershing Municipal Auditorium, Lincoln, NE 2/28/73 Salt Palace, Salt Lake City, UT.

Johnny Mathis’ mid-’60s sides for the Mercury label have long been overlooked, though they rank among the most commercially and artistically successful recordings of his career. Why? Well, for one thing, Johnny has been a flagship artist for Columbia Records for so long that folks tend to forget that he spent three years apart from the label. But more importantly, those recordings, most notably the ten LPs he cut for Mercury, have been out of print during the entire compact disc era, as only Johnny’s Christmas album has ever come out on CD. Now, by special arrangement with Sony Music, the artist and his management, Real Gone Music will issue these essential albums (everything but the Christmas album, which remains in print) on compact disc for the first time — nearly 50 years after Johnny’s first release on Mercury. Each release consists of two albums, each newly remastered at Battery Studios in New York, complete with original art and comprehensive liner notes featuring an exclusive interview of Johnny by pop vocal expert James Ritz (who counts these Mercury albums as his favorite Mathis recordings, by the way). And our first wave of releases includes a never-before-released album of Broadway-themed songs recorded by Johnny in 1964-1965, paired with his charting album from 1965, Love Is Everything, while our other twofer, Tender Is the Night/Wonderful World of Make-Believe, features Johnny’s first two “secular” albums for Mercury (his first release for the label was Sounds of Christmas). Both albums hit the charts in 1964, with Tender Is the Night reaching #12, and both albums feature Johnny’s dreamy takes on stage and film songs, with arrangements on Tender by the great Don Costa.

The all-time king of teen idols was arguably David Cassidy, eldest son of television’s Partridge Family. Cassidy’s star was so bright, in fact, that he was one of the very few ’70s teen idols who was able to achieve a successful, long-lived solo career after the initial burst of teen hype — in fact, it was Cassidy’s desire to tackle more mature musical material that in part led to the end of the show. Despite their commercial success, however, those solo recordings have remained largely unavailable, with only Cassidy’s first two albums reissued on compact disc in this country. Real Gone Music is delving into Cassidy’s rich catalog with a series of releases featuring liner notes by ’70s pop expert Mike Ragogna and new remastering by Vic Anesini at Battery Studios in NYC, and begins with Cassidy’s most collectible titles. Recorded in Britain during his 1974 world tour, the live album Cassidy Live! provides eloquent testimony both to the kind of hysteria David Cassidy concerts generated and to his global appeal. Despite that global appeal, however, the album has never appeared on CD anywhere in the world. Featuring tunes by Oscar Hammerstein & Richard Rodgers, Leon Russell and Stephen Stills, it confirms that Cassidy had bigger things in mind than teen idol-dom. Meanwhile, Cassidy’s 1976 album Gettin’ It in the Street never saw a proper release in the U.S. even though it featured songwriting from Brian Wilson, guitar work by Mick Ronson and co-production by America’s Gerry Beckley. This overlooked gem from the Cassidy catalog has only been on CD in Japan.

The definitive Gary Lewis & the Playboys two-CD, 45-track The Complete Liberty Singles anthology came and went in a heartbeat a few years ago; the critical and commercial response was so good (and continues to be — used copies sell for megabucks online) that Real Gone Music decided to reissue it. It’s still the ideal way to explore the recordings of one of the great singles bands of the ’60s, featuring the A- and B-side of every single they issued on the Liberty label. Many of these original mono singles mixes and most of the B-sides were completely unavailable until this collection came along — these after all are the mixes fans heard cracklin’ from their radio back in the day. The annotation by Ed Osborne features interviews with producers Bones Howe and Snuff Garrett, drummers Hal Blaine and Jim Keltner, singer (and Gary’s “ghost” voice) Ron Hicklin and even Lewis himself.

Dick Latvala was the official tape archivist for the Grateful Dead until 1999. His inspiration and encyclopedic knowledge of the band’s vaults spawned the fabled Dick’s Picks series of live Dead concert recordings. Comprising 36 volumes, Dick’s Picks follows the band on its long, strange trip through a multitude of eras, tours and venues, featuring handpicked shows that display the band at its visionary, improvisational height. Dick’s Picks Vol. 28—2/26/73 Pershing Municipal Auditorium, Lincoln, NE 2/28/73 Salt Palace, Salt Lake City, UT (four-CD set) features two 1973 concerts that took place shortly after the Dead added a large number of new, jazzy numbers to its repertoire. One such song, “Eyes of the World,” plays a central role in both shows excerpted here. As usual, the medleys hold the most jaw-dropping feats of improvisational derring-do: the first night’s “Dark Star/Eyes of the World/Mississippi Half-Step Uptown Toodeloo” is seamlessly sublime (or is that sublimely seamless?), while the second night’s “Truckin’/The Other One/Eyes of the World/Morning Dew” covers a prodigious amount of terrain, from raucous to frenzied to lilting to lyrical in the space of nearly one glorious hour. Also noted with pleasure is the appearance of “Box of Rain,” which the Dead performed live sparingly. This collection is presented in HDCD sound — never before available in stores.

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FOR IMMEDIATE RELEASE
May 15, 2012


THE ELECTRIC PRUNES COMPLETE REPRISE SINGLES
AND TIMI YURO COMPLETE LIBERTY SINGLES
HEADLINE JUNE RELEASES FROM REAL GONE MUSIC


Also due on June 26 are the Tokens,
New Christy Minstrels and Rita Pavone.

LOS ANGELES, Calif. — With its June 26, 2012 releases, Real Gone Music will offer music fans too much to dream. Featured will be three definitive packages — the Electric Prunes’ The Complete Reprise Singles, Timi Yuro’s The Complete Liberty Singles and the New Christy Minstrels’ A Retrospective: 1962-1970 — as well as the Tokens’ It’s a Happening World and Rita Pavone’s The International Teen-Age Sensation, each with bonus tracks.

Though the Electric Prunes were responsible for some of the boldest and most experimental pop of the late ’60s, they always were, more than just about any band of their ilk, a singles-oriented act, at least in their earliest incarnation. In fact, according to vocalist James Lowe, the engineers at American Recording, where many of their early singles were recorded, used to transmit the single mixes to a radio in a car parked outside the studio to make sure the songs sounded good in the medium through which most people would hear them. As a result, the Prunes singles (including the 1967 smash hit “Too Much to Dream [Last Night]”) were punchier than their album counterparts, and were, above all, mono. Yet to date, no legitimate collection has ever compiled these singles, which span several band line-ups and several legendary producers (Dave Hassinger, David Axelrod) with very different visions, yet remain of remarkably consistent high quality. The Complete Reprise Singles features all 23 of their single sides, with notes by Richie Unterberger that include track commentary from the band and shots of the original singles themselves plus photos provided by lead singer James Lowe.

Before Amy Winehouse, before Adele, there was the Little Girl with the Big Voice, Timi Yuro, the greatest white soul singer of the ’60s, male or female. Previous Timi collections have featured after-the-fact stereo remixes or album tracks — no collection has concentrated on the actual recordings that made her famous, the singles that took her to the charts in the ’60s. Now, Real Gone Music’s The Complete Liberty Singles double-CD collection includes for the first time the A- and B-sides of all of the U.S. singles Timi released on Liberty Records during her two stints with the label, featuring the original mono single mixes, all fittingly remastered for CD release at Capitol Studios. Among the highlights are, of course, her recording of “Hurt” (also here in an Italian version in homage to Timi’s heritage), a performance so deeply emotional and mature that viewers of her first television performances were shocked to discover that she was (a) white, (b) a female (c) barely five feet tall and (d) a 20-year-old from Chicago; the Phil Spector production of “What’s A Matter Baby (Is It Hurting You),” in which his studio bombast met its match in Timi’s booming vocal, and the legendary Northern Soul single “It’ll Never Be Over for Me/As Long as There Is You,” which in its original 7” vinyl form trades for princely sums. Co-Producer Ed Osborne pens notes that trace Timi’s journey from Chicago to the charts along with a singles discography and photos. Listeners can find out why everybody from Elvis to Morrissey counted Timi among their favorite singers.

There has been a few New Christy Minstrels hits collections before, but none like The New Christy Minstrels: A Retrospective 1962-1970. Here, at last, is a comprehensive (75 minutes-plus), single-CD chronicle of the evolution of the folk group, beginning with their earliest recordings with founder Randy Sparks in 1962 through the turbulent ’60s and ending with a sampling of their first recordings in the next decade. Sequenced in chronological order, the 25 tracks have been carefully chosen to include their biggest hits (“Green Green,” “Today,” and “Saturday Night”), standout album tracks (“This Land Is Your Land,” “Preacher and the Bear,” “Julianne” and “Blacksmith of Brandywine”), as well as recordings that represent their best efforts to adapt to changing times (“The Girl From Ipanema,” “Highflyin’ Bird”). Featured are the voices of the key players who defined the early sound — Randy Sparks, Barry McGuire, Nick Woods, Art Podell and Karen Gunderson — as well as rare tracks by Bob Buchanan (later a member of the International Submarine Band with Gram Parsons) and a young fellow from Texas by the name of Kenny Rogers. The set also includes four Christy tracks making their CD debut and contains rare photos and behind-the-scenes liner notes by Christy historian Tom Pickles.

One has only to hear The Tokens’ remake of their 1961 hit “The Lion Sleeps Tonight” (here entitled “Wimoweh 5½ Years Later”) that leads off the album It’s a Happening World to appreciate how far this vocal group and pop music in general had come by 1967. A loping bass line, Beatle-esque horn choruses and a jazzy baritone sax accompany the trademark yodeling melody lines, and that same happy marriage of flawless vocal arrangements with studio experimentation permeates this entire album, which sounds at times like such baroque pop favorites as the Merry-Go-Round, the Left Banke and Pet Sounds. But it wasn’t just the heady times that gave the album its flavor — legendary engineer Brooks Arthur was behind the board for this one, and the arrangements were by Jimmy Wisner of Kokomo fame. An added bonus is the Tokens’ non-LP Warner Brothers singles, which at times range even farther afield than the album — “Animal” in particular could have come fit right into a Flo & Eddie album. Original Token Phil Margo makes sense of it all in Richie Unterberger’s liner notes.

Record labels have never been accused of going easy on the hype, but with the title of the 1964 album The International Teen-Age Sensation, RCA was simply stating a fact: Rita Pavone was an international teen-age sensation. After winning a talent contest in 1962 at the age of 16, her first singles shot to the top of the charts in Germany, Argentina, Spain and in her native Italy, where her recording of “Cuore (Heart)” was #1 for nine full weeks. She then was brought to the biggest market of all, the United States, to record this album with producer Joe Rene in 1964, an album which, while it didn’t duplicate her success abroad, did reach #60 on the charts and spawn a #26 hit, the bitter break-up song “Remember Me.” But that hit — which is, we kid you not, almost punk-rock as Pavone spits out the lyrics in her accented English over a spare electric guitar figure — is not the only reason why early rock ’n’ roll aficionados have been craving the reissue of this album for decades. Rita’s version of Chip Taylor’s “Don’t Tell Me Not to Love You” is definitive, and “Too Many” and “I Can’t Hold Back the Tears” are just plain classic girl-group anthems. Added is a bonus track, her 1964 English-language version of “Heart,” along with liner notes by Bill Dahl and period photos, to complete the first Stateside reissue of Rita Pavone (who, by the way, is still a big star on the Euro continent).

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FOR IMMEDIATE RELEASE
April 17, 2012

THE GERMS, D?ROCS, JERRY REED, MICK FLEETWOOD’S ZOO,
TERRY KNIGHT & THE PACK, CHUBBY CHECKER, THE ORLONS:
WHAT ELSE COULD IT BE BUT REAL GONE MUSIC IN MAY?

All of that plus the Grateful Dead’s Dick’s Picks, Volume 29 too.

LOS ANGELES, Calif. — Real Gone Music enters its first Spring with a potpourri of reissues that are definitely not garden variety, with releases ranging from hardcore punk to power pop to Motor City rock ’n’ roll, doo-wop and Summer of Love fixtures the Grateful Dead, all due in late May. The only album by seminal Los Angeles punkers The Germs, (GI), will be reissued alongside the D?rocs’ self-titled album, Jerry Reed’s The Unbelievable Guitar and Voice of Jerry Reed/Nashville Underground, I’m Not Me by Mick Fleetwood’s Zoo, plus twofers from Terry Knight & the Pack (Terry Knight & the Pack/Reflections), Chubby Checker (It’s Pony Time/Let’s Twist Again), The Orlons (The Wah-Watusi/South Street) and Cameo Parkway Vocal Groups, Vol. 1. And if that’s not enough to put in one’s pipe and smoke, the Grateful Dead’s Dick’s Picks series continues with the six-CD set Dick’s Picks Vol. 29—5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL.

Named after a breed of hog known for being great producers with oversized ears and genitalia, the D?rocs were the brainchild of Scott Mathews and Ron Nagle. Mathews had played at the Fillmore with Elvin Bishop at the age of 15, formed a band (Ice) with future Journey lead singer Steve Perry, and, with the guidance of music industry legends Jack Nitszche and David Rubinson, was one of the music industry’s most sought-after session men and producers. Nagle, meanwhile, had been the main singer-songwriter and keyboard player in the Mystery Trend and had released a cult classic solo album produced by Nitszche, Bad Rice. Together, the two wrote songs for platinum-certified artists and in 1979 released their own LP, which received a five-star rating in Rolling Stone and scored some European hits. For the first time, with Mathews’ and Nagle’s cooperation, the legendary album will be reissued on CD with no fewer than eight unreleased “bone us” tracks, complete with liner notes by Gene Sculatti. In addition, Real Gone will manufacture a 500-unit, limited-edition vinyl pressing in an appropriately porcine shade of pink with the original track listing and album packaging intact. Power pop fans will agree it’s time to bring home the bacon.

Produced by Joan Jett, The Germs’ (GI) is a seminal album not just in West Coast punk, but in punk rock, period, wellspring of the Darby Crash legend and start of the illustrious career of Pat Smear (Nirvana, Foo Fighters). Astonishingly, this album (originally issued on Slash Records) has been out of print on CD for years. The Real Gone reissue places the platter inside a four-panel wallet featuring the original album graphics (including lyrics) with additional photos by noted punk scene photographer Jenny Lens and new liner notes by Richie Unterberger featuring fresh quotes from drummer Don Bolles.

Real Gone Music will issue two classic late-’60s albums from Jerry Reed for the first time in CD: The Unbelievable Guitar and Voice of Jerry Reed/Nashville Underground. The titles of these, his first two records, tell the tale: Jerry was an unbelievably good guitarist and singer, and songwriter can be added to the list — at least Elvis thought so, as he covered both “Guitar Man” and “U.S. Male” from Unbelievable (and hired Jerry to play guitar on both). Jerry returned the favor by writing an Elvis tribute song (“Tupelo Mississippi Flash”) on 1968’s Nashville Underground, which lives up to its title by presenting a revelatory blend of country, rock ’n’ roll, folk, blue-eyed soul and even progressive pop. Though Reed was a protégé of Chet Atkins, his eclectic taste and irrepressible personality — later on full display in the Smokey and the Bandit films — ensured that this record busted out of the countrypolitan mold that held sway in Nashville at the time. Both of these albums are must-listens for any alt-country and roots music fan. Chris Morris contributes notes that place the two albums in context of Jerry’s incredible (and, to this day, underappreciated) career.

Terry Knight and the Pack hailed from the same fertile, late-’60s Michigan soil that spawned the MC5, the Stooges, the Frost, the Amboy Dukes, SRC, Bob Seger and the Last Heard and other likeminded outfits. And these two fuzz-laced albums, Terry Knight & the Pack/Reflections, originally released on the Cameo Parkway subsidiary Lucky Eleven, definitely fit right into that Midwestern mold — in fact, the band did notch several regional hits (“I [Who Have Nothing],” “You’re a Better Man Than I,” both collected here) but never quite broke through nationally. However, they remain famous among rock fans for one very important fact: this is the band where Mark Farner and Don Brewer of Grand Funk Railroad got their start (and Knight went on to manage the band). Jeff Tamarkin’s liner notes chronicle the saga. Released by Real Gone Music and ABKCO Music & Records.

Though I’m Not Me, the 1983 album by Mick Fleetwood’s Zoo is commonly thought of as a Mick Fleetwood solo record, it really was the product of a band, and a helluva band at that. Aside from the drummer — who lays down the primal, bedrock rhythms for which he is famous — the denizens of this Zoo include Billy Burnette and Steve Ross on guitar and vocals, session bass player supreme Roger Hawkins and, on background vocals, none other than Christine McVie and Lindsey Buckingham (the band got its start backing Buckingham on a Saturday Night Live appearance). Though produced by Richard Dashut, producer of Rumors and Tusk, I’m Not Me was almost the anti-Tusk, a low-key affair showcasing the considerable singing and songwriting talents of Burnette, Ross and Hawkins. Given the talent assembled and the fact that it scored a hit in “I Want You Back,” it’s odd that this engaging, infectious album has never been out on CD. The Real Gone reissue includes notes by Scott Schinder.

Also on deck are two albums from the height of the Chubby Checker twist phenomenon: It’s Pony Time/Let’s Twist Again. Chubby flat-out ruled the charts in 1960 and 1961; the title cut of It’s Pony Time went to #1, his only #1 hit besides “The Twist,” while Let’s Twist Again, his fourth album, went to #11, shortly to be followed by three Top Ten albums in a row. Jim Ritz’s liner notes document the Chubby Checker phenomenon; the two albums appear here straight from the original tapes in radio-ready, primed-to-party mono, just like they were originally released. The twofer is another “twist” in the Real Gone Music/ABKCO Music & Records partnership.

Discovered by high school classmate Len Barry, The Orlons (Shirley Brickley, Marlena Davis, Rosetta Hightower and Stephen Caldwell) were probably Cameo Parkway’s most popular vocal group and certainly the label’s top girl group. This twofer presents their only two charting albums, their 1962 debut The Wah-Watusi and 1963’s South Street — each featuring Top Five title tracks — in their original, pristine mono, with notes by Gene Sculatti that include great quotes from band member Caldwell (he of that ultra-low “frog” voice). More classic, early Philly soul from Real Gone Music and ABKCO Music & Records.

The Philadelphia-based Cameo Parkway label was one of America’s great independent labels for vocal groups, home to big stars like the Dovells, Tymes and Orlons. But right alongside the big names and big hits in the label’s vaults lie untold doo-wop treasures waiting to be discovered, and that’s what this 24-track collection, Remember Me Baby: Cameo Parkway Vocal Groups, Vol. 1 really delivers. While the big names are represented, with the Dovells and Tymes each contributing one track unreleased until this collection, it’s the lesser lights on this collection that will shine the brightest for doo-wop and vocal group collectors, and with a full 23 out of the 24 tracks new to CD, and all but three from the original tapes, even the casual vocal group fan will find much to savor. Ed Osborne’s liner notes illuminate the street corners from which these artists hailed. ABKCO’s chief engineer Teri Landi produced the reissue.

Finally, Real Gone Music will issue the Grateful Dead’s Dick’s Picks Vol. 29—5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL. Start talking tours to any Deadhead you know and just say “Spring ’77”— chances are a big smile will steal across their face. That’s because of all the road trips in the Dead’s long history, arguably the one that saw the most consistently high level of playing was the spring ’77 tour the band undertook in support of its forthcoming Terrapin Station album. And that’s why, out of the 36 volumes in the Dick’s Picks series, only one, this one, is a six-CD set (there isn’t even a five-CD set). Inside are two complete shows minus one encore (from the Florida show), plus unlisted bonus tracks from a 10/11/77 show in Norman, Okla., all impeccably recorded by Betty Cantor-Jackson. Highest among the many highlights from the Fox Theatre show are the version of “Sugaree” and the incredible segue from “Playing in the Band” to “Uncle John’s Band” (also don’t miss the unbilled, primal version of “Not Fade Away”). But the Lakeland show just may take the cake — two medleys, a breathtaking “Scarlet Begonias/Fire on the Mountain” and a jaw-dropping “Estimated Prophet/He’s Gone/Drums/The Other One/Comes a Time/St. Stephen/Not Fade Away/St. Stephen/One More Saturday Night,” are the icing. This package, never previously available in stores, comes with original slip-cased packaging and in HDCD sound.

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FOR IMMEDIATE RELEASE
March 08, 2012


APRIL/EARLY MAY REISSUES FROM REAL GONE MUSIC INCLUDE
LITTLE WILLIE JOHN, COWBOY COPAS, THE AD LIBS,
MEL McDANIEL AND EDDIE RABBITT

Also due, two more Grateful Dead Dicks Picks sets, Volumes 30 & 31.

LOS ANGELES, Calif. — Real Gone Music will issue Little Willie John’s Complete Hit Singles A’s and B’s, a definitive compilation of the influential R&B singer’s King Records sides as well as King-Starday label mate Cowboy Copas’ Complete Hit Singles A’s & B’s, featuring 30 of the country legends’ sides from 1946-63, both slated for April 17, 2012 street date. On May 1, doo-woppers the Ab Libs will be celebrated on The Complete Blue Cat Recordings. And two country hit-makers from the ’70s and ’70s, Mel McDaniel and Eddie Rabbit, will be reissued — McDaniel with Baby’s Got Her Blue Jeans On — His Original Capitol Hits, and Rabbitt with 13 Original #1 Hits. Finally, Real Gone continues its acclaimed Grateful Dead Dick’s Picks reissues with Volume 30 and Volume 31.

Little Willie John was a genuine architect of soul. Along with Clyde McPhatter, Ray Charles and Sam Cooke, the visionary singer stood at the forefront of fusing gospel intensity to rhythm and blues tradition. And had he not died inside a Walla Walla prison at the age of 30, his name would likely be etched in the same soul pantheon as his peers. In his short career, Willie cut a string of seminal sides for Cincinnati-based King Records from 1955-61 that rank among the finest R&B ever waxed. As Motown legend Lamont Dozier says in Bill Dahl’s notes to this collection, “Willie John was just an extraordinary talent. He knew how to touch you with a song, and he knew how to raise the hairs on the back of your neck.” Real Gone Music will offer the most comprehensive collection of this overlooked soul superstar ever assembled: two CDs, 32 tracks that include every chart hit plus its accompanying, seldom-compiled B-side. And the B-sides are where some of the real fun is: joining such landmark R&B recordings as “Fever,” “All Around the World,” “Need Your Love So Bad” and “Home at Last” on this collection are such crackling tunes as “Spasms,” “Let’s Rock While the Rockin’s Good” and “Do You Love Me” (recorded with Little Richard’s band the Upsetters).

To many, Lloyd Estel “Cowboy” Copas is just a footnote to the Patsy Cline legend, having perished in the same plane crash that claimed her life and that of Hawkshaw Hawkins; but what many folks don’t realize is that Cope had 14 hits during his lifetime while Patsy had but nine. Clearly, the intervening years have burnished and magnified Patsy’s legend; they’ve also unjustly neglected this early Grand Ole Opry stalwart. Now, with Complete Hit Singles A’s & B’s, Real Gone has assembled the most comprehensive Cowboy Copas collection to date: two CDs, 30 tracks including every hit and its accompanying, rarely-if-ever-compiled B-sides. Cope got his start in Pee Wee King’s band, and you can hear a bit of that bandleader’s freewheeling approach to country in these songs, among many other influences. In fact, as Colin Escott writes in the accompanying liner notes, “His records were so personable and so unlike any others from that day and time. Not honky tonk, not bluegrass, not Western swing, not hillbilly, not pop crossover, they could be labeled Cowboy Copas records.” This Cowboy Copas collection is the one to have — essential country spanning the years from 1946-63, the year Cope died.

On the heels of Real Gone’s well-received Red Bird Girls: Very First Time in True Stereo 1964-1966 comes another incredible find for doo-wop and girl-group fans: the first-ever legitimate album devoted to the classic Blue Cat recordings by the legendary vocal group The Ad-Libs, featuring 24 tracks taken by producers Ron Furmanek and Ash Wells straight from the original master session tapes (again, another first) including five unreleased songs and nine unreleased alternate versions! And among those unreleased alternate versions are a full three newly discovered versions of their big hit “The Boy from New York City,” highlighted by an a cappella demo version that must be heard. Most tracks make their true stereo debut, while the 12-page booklet boasts great liner notes by James Moniz that offer insights from original Ad-Lib Norman Donegan, plus a foreword from Manhattan Transfer member Tim Hauser.

The late country legend Mel McDaniel scored a string of 41 chartmakers during the ’70s and ’80s, but there’s never been a hits collection worthy of the name until now. Twenty-one original Capitol sides from McDaniel appear on Baby’s Got Her Blue Jeans On — His Original Capitol Hits, including such good-time anthems as “Louisiana Saturday Night,” “Big Ole Brew” (Mel preferred to drink his beer rather than cry in it), “Let It Roll (Let It Rock),” “Stand Up” and, of course one of the great girl-watching songs of all time, “Baby’s Got Her Blue Jeans On.” McDaniel was one of the real bright lights of ’80s country, and Real Gone is proud to give him his due.

13 #1 Hits compiles the chart-topping hits of Eddie Rabbitt, one of the biggest pop and country music stars of the ’70s and ’80s. In addition to the great singles Eddie recorded for Elektra and Warner — “Drivin’ My Life Away,” “I Love a Rainy Night,” “Every Which Way But Loose,” and more — Real Gone cross-licensed the hits owned by Capitol—“Someone Could Lose a Heart Tonight,” “You and I,” “Best Year of My Life,” etc.—AND the #1 hit duet he recorded with Juice Newton for RCA, “Both to Each Other (Friends and Lovers).” Liner notes and photos recount the story of one of country music’s biggest crossover artists. No other Eddie Rabbitt collection packs this hit power.

Real Gone Music continues its Grateful Dead Dick’s Picks reissues with two new titles available in stores for the first time: The four-CD set Dick’s Picks Vol. 30 — Academy of Music, New York City, NY 3/25 & 3/28/72 kicks off with five tracks featuring blues legend Bo Diddley (taken from a 3/25/72 benefit for the Hell’s Angels), which ought to be enough to get those Dead collector synapses firing. The final three discs present a complete show from March 28, 1972 that’s very Europe ’72 in its set list but with that extra edge that playing in New York always seemed to inspire in the band, all recorded by Dead sound guru Betty Cantor-Jackson. The set features HDCD sound and contain the Dead’s lone renditions of “How Sweet It Is (To Be Loved by You)” and “Are You Lonely for Me.”

The four-CD Dick’s Picks Vol. 31 — 8/4-5 Philadelphia Civic Center, Philadelphia, PA 8/6/74, Roosevelt Stadium, Jersey City, NJ captures the Dead right in the thick of the legendary 1974 Wall of Sound tour and only two months away from leaving the road for a year-and-a-half hiatus. The Wall of Sound was, of course, the massive sound system designed by Owsley “Bear” Stanley that was so meticulously constructed that, for example, each string of Phil Lesh’s bass had its own speaker. The result was a crystal-clear sound that to this day stirs controversy among the band’s fans. It certainly complemented and even encouraged the band’s continued move away from the country-rock of Workingman’s Dead towards a jazz fusion sound best expressed by the two epic versions of “Playing in the Band” found here. Unlike most Dick’s Picks collections, this four-disc set offers highlights from three consecutive nights of shows (again, all in HDCD sound) rather than presenting shows in their entirety.



FOR IMMEDIATE RELEASE
February 16, 2012

REAL GONE MUSIC MARCH 2012 REISSUES INCLUDE B.J. THOMAS’
‘THE COMPLETE SCEPTER SINGLES,’ DAVID AXELROD, RICK SPRINGFIELD, FRANKIE AVALON, WISHBONE ASH AND THE TUBES

Also, Clint Eastwood’s Cowboy Favorites to be reissued on vinyl for first time.

LOS ANGELES, Calif. — Real Gone Music, the reissue label that has won many critical kudos in its initial months of operation, has announced its March 2012 releases. Featured are B.J. Thomas’ The Complete Scepter Singles, Frankie Avalon’s Muscle Beach Party: The United Artists Sessions, The Tubes’ Young & Rich/Now, Rick Springfield’s Beginnings, David Axelrod’s Messiah, Wishbone Ash’s Live Dates II and Clint Eastwood’s Rawhide’s Clint Eastwood Sings Cowboy Favorites. Street date for all is March 27, 2012.

From his 1966 recording of Hank Williams’ “I’m So Lonesome I Could Cry” through his 1972 double-sided hit single “That’s What Friends Are For”/”Happier Than the Morning Sun,” B.J. Thomas enjoyed a string of hits rivaled by few artists of that time. And the fact that he did this on an indie label, Scepter, makes the achievement even more impressive. Various compilations of Thomas’ Scepter sides have come and gone. But Real Gone’s 44-track anthology is the first to offer A- and B-sides of every one of the artists’ Scepter singles, including his 19 hits. Many of the B-sides never appeared on albums. DJ/journalist Michael Ragogna wrote the notes, which feature quotes from Thomas.

Frankie Avalon’s late ’50s/early ’60s recordings practically define an era in pop music. But while there have been many reissues of his legendary Chancellor recordings, his later output has proven elusive. Frankie Avalon: Muscle Beach Party: The United Artists Sessions features 20 stereo tracks recorded in 1964 and ’65. The set’s centerpiece is Frankie’s album Muscle Beach Party and Other Movie Songs, which features music from his films (notably a version of “Runnin’ Wild,” his spotlight solo in the Muscle Beach Party Music movie). In addition are his rare UA singles plus tracks from the soundtrack of I’ll Take Sweden, a Bob Hope comedy in which he co-starred. The set features liners by Tom Pickles and photos.

One might think that the debut solo album, sporting two hits, from one of the ’80s’ biggest heartthrobs would have been reissued long ago, but Rick Springfield’s 1972 Capitol release Beginnings was indeed the “beginnings” of a series of misadventures in the music business that were to plague the singer until he broke through with “Jessie’s Girl” and a role on the soap opera General Hospital. Springfield had scored a major hit in Australia with “Speak to the Sky” (the song appears here in its re-recorded U.S. hit version) when he moved to the States and made Beginnings, but there was a serious disconnect between the music and the marketing. The label seemed bent on selling him as a Tiger Beat teen heartthrob but Springfield’s songwriting betrayed an artist with loftier ambitions, switching from Big Star-esque power pop (“Mother Can You Carry Me”) to T-Rexish glam (“Hooky Jo”) to McCartney-esque balladry (“What Would the Children Think”). Springfield left Capitol following disappointing initial sales; this album deserved a wider audience then and still does now.

Having previously set a Catholic Mass to psychedelic guitar in 1967 with the Electric Prunes album Mass in F Minor, in 1971 legendary arranger/producer David Axelrod went for Baroque and set Georg Friedrich Handel’s signature work Messiah to contemporary instrumentation as well. But he didn’t do it alone — frequent collaborator Julian “Cannonball” Adderley conducted the orchestra. The result was a record far more restrained, even respectful, than Mass in F Minor, with psychedelic guitar, a funk rhythm section, flute and electric piano contributing tasty, swinging instrumental passages. This cult favorite is given its first reissue here of any kind, with new liner notes and photos. Another Real Gone (ahem) resurrection, just in time for Easter!

Clint Eastwood has demonstrated a deep love and aptitude for music as both an actor and a director (e.g. Play Misty for Me; Bird) during his entire career. On Rawhide’s Clint Eastwood Sings Cowboy Favorites he is fresh from his success on the TV series Rawhide, crooning (and quite competently so) a collection of Country & Western favorites. Real Gone has added both sides of his 1962 single “Rowdy” b/w “Cowboy Wedding Song” to the CD release of this 1963 stereo album; the vinyl release (the album’s first-ever reissue in the vinyl format) features 180-gram vinyl pressing.

The fact that two albums by The Tubes, Young & Rich and Now (their second and third releases) have been out of print for years — and Now never even issued on CD in this country — is eloquent testimony to the fact that they are one of the most underrated bands of the ’70s (though not underrated by all — used CD copies of these albums sell for staggering figures online). Salacious Zappa-like satire? Check. Over-the-top theatricality à la Alice Cooper? Check. BOC-like hard rock? Check. Even avant-garde, Beefheart-ian atonality cropped up in unexpected places. The two-disc set features liner notes by Gene Sculatti drawn from a new interview with drummer Prairie Prince.

When a band has not one, not two, but three releases entitled Live Dates, it’s a pretty good bet that the band in question is pretty good in concert. And in the case of Wishbone Ash, that’s an understatement; various line-ups of the group have been rocking the globe with their patented brand of twin-guitar hard/progressive rock for 40 years now. Though Live Dates (1973) charted, and Live Dates III (2001) is well-thought-of by their fan base, it’s Live Dates II (released in 1980 and assembled from various 1976-1980 shows) that’s considered the real gem of the three; it ranks as probably the key document of the Wishbone Ash version 2.0 lineup of guitarists Andy Powell (he of the Flying V) and Laurie Wisefield, bassist Martin Turner and drummer Steve Upton. Real Gone’s reissue features the complete, limited-edition double-album of which only 25,000 copies were originally released, and only in the UK—80 minutes of guitar bliss on a single CD.

About Real Gone Music
Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, aims to establish itself as the most eclectic and prolific catalog and reissue label in the country. The label has announced distribution through by Razor & Tie. Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. Now, 18 years later, they have joined forces to launch Real Gone Music, a reissue label dedicated to serving both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is a music company dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone.

Street date March 27
B.J. Thomas: The Complete Scepter Singles
Frankie Avalon: Muscle Beach Party: The United Artists Sessions
The Tubes:Young & Rich/Now
Rick Springfield: Beginnings
David Axelrod: Messiah
Wishbone Ash:Live Dates II
Clint Eastwood: Rawhide’s Clint Eastwood Sings Cowboy Favorites


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FOR IMMEDIATE RELEASE
January 5, 2012

REAL GONE MUSIC’S FEBRUARY REISSUES FEATURE RICK NELSON’S THE COMPLETE EPIC RECORDINGS, MARK LINDSAY’S COMPLETE COLUMBIA SINGLES
AND SEAN BONNIWELL’S ONLY SOLO ALBUM


February releases also include Hank Thompson (on 160-gram vinyl), McGough & McGear (from U.K. band Scaffold), funkster Eddie Hazel and Red Bird Records girl groups.

LOS ANGELES, Calif. — Rick Nelson’s The Complete Epic Recordings and Mark Lindsay’s The Complete Columbia Singles headline the February release schedule for Real Gone Music, the new indie label helmed by reissue veterans Gordon Anderson and Gabby Castellana. The February rollout will include the late Sean Bonniwell’s only solo album, Close (recorded under the name T.S. Bonniwell) and Hank Thompson’s classic Songs for Rounders on 160-gram vinyl, plus CDs by Eddie Hazel and McGough & McGear. Also in February is the anthology The Red Bird Girls: Very First Time in True Stereo, a collection of early ’60s girl group recordings from Jerry Leiber and Mike Stoller’s label.

Rick Nelson’s short, late-’70s tenure at Epic Records was a creative and productive period for him, but one might not know it from what has been released in the U.S. He recorded three albums worth of material but only 1977’s Intakes was released during his lifetime. The next Epic album, the Al Kooper-produced Back to Vienna, was never released at all. And its follow-up, Rockabilly Renaissance, a return to Nelson’s rockabilly roots and a forerunner to the alt-country movement, was released posthumously in heavily overdubbed form as Memphis Sessions. The Real Gone compilation The Complete Epic Recordings, due out February 28, 2012, will mark the first time 11 of the 41 tracks will be released in the U.S., and the first time these three albums have appeared on CD in the U.S. The volume was produced and annotated by Rick Nelson expert James Ritz, and Rockabilly Renaissance restored to its original sound by Richard Weize.

After a spectacularly successful stint as lead singer and saxophonist for Paul Revere & the Raiders, Mark Lindsay commenced a solo career for Columbia that cemented his reputation and legacy with a string of hits. With Real Gone’s The Complete Columbia Singles, all of his singles for the label — plus an unreleased track, Tim Hardin’s composition “Reason to Believe,” that was slated to be the B-side of Lindsay’s first solo single — have been collected on CD in chronological order. This means mono on the first five tracks and stereo on the rest. All have the original single mixes. The accompanying booklet features photos from Lindsay’s archive and liner notes by Ed Osborne, with interviews with Lindsay, Jerry Fuller, Artie Butler and Tom Bahler, all of whom worked on the singles. Street date is February 28.

T.S. Bonniwell is best known as leader of the ’60s garage band the Music Machine (“Talk Talk”). Close is his long-lost, sole solo album. Seldom has an artist made a career shift as abrupt as that made on this 1969 Capitol release, which finds Bonniwell trading the crashing rock sounds of his previous outfit for deeply introspective and melancholy lyrics and melodies inflected with touches of flamenco, bossa nova, horns and strings. While the album didn’t sell in its own time, it has become a serious collector’s item. Bonniwell retired from music directly afterwards, but returned to remix and lend quotes to the notes for the reissue shortly before his untimely death from cancer last month. Real Gone is honored to release this highly personal manifesto from this visionary artist on February 21.

The late ’50s were a time of crushing conformity, well-manicured lawns, white picket fences and men in gray suits. Not in country legend Hank Thompson’s world, however. With its tales of drunkenness, prostitution, drug abuse, gambling and vagrancy — not to mention a notorious album cover — Thompson’s 1959 Songs for Rounders remains one of country’s essential albums. Real Gone will reissue it February 28 in stereo in its original format, remastered by Maria Triana and lacquer-cut by Peter Black on 160-gram vinyl, with liner notes by Grammy® winner Colin Escott. Sessions for the album began when Capitol country A&R head Ken Nelson urged Thompson to record a song, “Cocaine Blues,” that highlighted his live show. Realizing it had no airplay potential, it became part of an album concept. This album wasn’t part of the Outlaw Country movement, but it certainly raised some hackles on Music Row.

Roger McGough & Mike McGear were members of the Scaffold, the British music/comedy act that scored a hit with “Thank U Very Much.” The duo album was recorded in 1967 and has become a prime collectible over the years, in part because McGear’s real name is Mike McCartney (brother of Paul), and in part because of the album’s A-list guest list. His better-known brother appears on the album, as do Jimi Hendrix, John Mayall, Spencer Davis, Paul Samwell-Smith and Graham Nash. This essential bit of obscure ’60s pop culture, with notes by Richie Unterberger, will be issued on CD for the first time in the U.S. on February 21.

The Red Bird Girls, a collection of 20 tracks discovered deep in the vaults of Leiber & Stoller’s Red Bird label, features such artists as Ellie Greenwich, Evie Sands, the Goodies, the Jelly Beans, the Dixie Cups, the Ad-Libs, the Bouquets and more — each track appearing in stereo for the first time. Among the gems here are a newly discovered Greenwich track written by Neil Diamond, “Call Me His”; Bessie Banks’ version of “Go Now,” which would later be a hit for the Moody Blues; and Sands’ take on “I Can’t Let Go,” ditto the Hollies. Remastered and mixed into stereo from the original tapes by Ron Furmanek; a 16-page booklet contains interviews with selected artists plus producer Brooks Arthur. Street date is February 21.

As a 17-year-old, Eddie Hazel found himself playing guitar in funk mothership Parliament/Funkadelic with George Clinton, Bootsy Collins and Bernie Worrell. His 1977 Game, Dames and Guitar Thangs is one of the great lost guitar albums of all time, with production by Clinton and Hazel, and appearances by many of the P-Funk all-stars. Real Gone will issue it with a gatefold wallet CD sleeve and liner notes on February 21.

About Real Gone Music
Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, aims to establish itself as the most eclectic and prolific catalog and reissue label in the country. The label has announced distribution through by Razor & Tie.

Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. Now, 18 years later, they have joined forces to launch Real Gone Music, a reissue label dedicated to serving both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is a music company dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone.

February 21, 2012
The Red Bird Girls: Very First Time in True Stereo
McGough & McGear: McGough & McGear
T.S. Bonniwell: Close
Eddie Hazel: Game, Dames and Guitar Thangs

February 28 2012
Rick Nelson: The Complete Epic Recordings
Mark Lindsay: The Complete Columbia Singles
Hank Thompson: Songs for Rounders (160-gram vinyl only)

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FOR IMMEDIATE RELEASE
November 16, 2011

REAL GONE MUSIC'S JANUARY 2012 REISSUES FEATURE
GLEN CAMPBELL LIVE, MAGGIE & TERRE ROCHE, BILL MEDLEY, JODY MILLER, THE TYMES, MAYNARD FERGUSON, AND MORE GRATEFUL DEAD DICKS PICKS


Glen Campbell’s 1975 Live in Japan was never released in the U.S.,
while Bill Medley twofer chronicles his late ’60s
post-Righteous Brothers solo career

LOS ANGELES, Calif. — A never-before-released Glen Campbell live album, Bill Medley’s post-Righteous Brothers solo albums for MGM, a 1975 album by Maggie & Terre Roche of the Roches, a retrospective of country singer Jody Miller’s Epic Records years and two new Dick’s Picks volumes from the Grateful Dead headline the January 2012 lineup for Real Gone Music http://www.realgonemusic.com, the new indie label helmed by reissue veterans Gordon Anderson and Gabby Castellana. The January rollout will also feature, as part of the label’s ongoing partnership with ABKCO Music & Records, Inc., The Tymes’ So Much in Love and the complete Cameo recordings of jazz trumpeter Maynard Ferguson.

The multi-talented Glen Campbell, who has enjoyed a 50-year career as singer, guitarist and television personality, is the recent recipient of much warm sentiment as he released his final album and embarked on his final tour. Campbell’s 1975 Live in Japan was originally issued only across the Pacific. The album will receive its worldwide CD release on January 24, 2011. Glen is at the peak of his powers here, pulling favorites from his vaunted songbook while displaying his usual unerring taste in covers (Conway Twitty’s “It’s Only Make Believe,” Paul Anka’s “My Way”). The album was released in a gorgeous gatefold package that Real Gone has faithfully reproduced along with other graphic elements. It’s a timely tribute to one of the great American music entertainers.

Also on January 24, Real Gone will release reissues from Bill Medley and Maggie & Terre Roche and a Jody Miller compilation. Bill Medley recorded two late ’60s albums for MGM Records — Bill Medley 100% and Soft & Soulful — after his split from fellow Righteous Brother Bobby Hatfield. Fans of the Righteous Brothers’ blue-eyed soul will find plenty to like as the two albums feature the act’s signature marriage of pop and R&B with the studio chops you’d expect from an artist who learned from Phil Spector (and himself produced some of the Righteous Brothers’ biggest hits).

Seductive Reasoning, the 1975 Columbia Records album by sisters Maggie and Terre Roche of the Roches and the first release from the Roche family, features the Muscle Shoals Rhythm Section and, on one track, production and backing vocals from Paul Simon — to whose There Goes Rhymin’ Simon the sisters had recently contributed backing vocals. This 36-year-old hybrid of folk, country and pop sounds like it could have been made yesterday, with its stream-of-consciousness urban streetscapes and post-feminist attitudes toward love and sex, all leavened by a sweet vulnerability. Maggie Roche contributes notes and photos from her private archive.

With The Complete Epic Hits, Real Gone takes a long-overdue look at pioneering country-pop crossover artist Jody Miller, whose 1965 “Queen of the House” was the answer song to Roger Miller’s “King of the Road.” In 1970, she switched from Capitol to Epic Records and under of guidance of countrypolitan production guru Billy Sherrill notched a string of chart hits throughout the decade — all 25 of which appear in this 69-minute collection. Featured are Top 10 hits “He’s So Fine,” “There’s a Party Goin’ On,” “Darlin’ You Can Always Come Back Home” and “Good News.” Again, Jody contributes photos from her private archive.

The Grateful Dead’s Dick’s Picks series, curated by the band’s fabled archivist Dick Latvala, continues to chronicle the band’s long strange trip with Dick’s Picks Vol. 33 — Oakland Coliseum Stadium, Oakland, CA 10/9 & 10/10/76 and Dick’s Picks Vol. 32 — Alpine Valley Music Theatre, East Troy, WI 8/7/82 — both due out January 24, 2012. The former finds the Dead back on the road following an 18-month touring hiatus and back to full two-drummer strength opening for the Who as part of Bill Graham’s historic Day on the Green concerts. The latter finds them at Alpine Valley — equidistant between Chicago and Milwaukee — performing bluesman Jesse Fuller’s “Beat It On Down the Line” and the Memphis Jug Band’s “On the Road Again,” both part of the pre-Dead repertoire of the Warlocks in the mid-’60s. These are two of the most sought-after volumes in the series.

Finally, the Real Gone/ABKCO releases feature two famous artists from the hallowed Cameo-Parkway label vaults. The first, The Tymes, were among the label’s big stars, notching such hits as “So Much in Love” and “Wonderful! Wonderful!.” Both of these are part of Real Gone/ABKCO’s first-time-on-CD release of the group’s first album. Also included is “Roscoe James McLain,” the rare non-LP B-side of the “So Much in Love” single as well as “Surf City” from the multi-artist Parkway album Everybody’s Goin’ Surfin’. The second, Maynard Ferguson, needs little introduction as he was one of the most celebrated trumpeters in jazz. This release, sourced from a series of jazz albums that Cameo released in 1963 and 1964, is comprised of Ferguson's two 1963 albums for the label. The first, New Sounds of Maynard Ferguson now also includes “The Song Is You,” a never-before-released gem from the session that was discovered while researching tapes for this album. The track makes its debut on this release. Come Blow Your Horn was Ferguson’s second album for Cameo; both albums represent his complete recordings for the label, documenting a long-overlooked chapter in Ferguson’s career that came between better-known stints with Roulette and Mainstream. These recordings make their CD debut and street on January 31.

About Real Gone Music
Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, aims to establish itself as the most eclectic and prolific catalog and reissue label in the country. The label has announced distribution through by Razor & Tie.

Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. Now, 18 years later, they have joined forces to launch Real Gone Music, a reissue label dedicated to serving both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is a music company dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone.

January 24, 2012
Maggie & Terre Roche: Seductive Reasoning
Bill Medley: 100%/Soft and Soulful
Glen Campbell: Live in Japan
Jody Miller: Complete Epic Hits
Grateful Dead: Dick's Picks Vol. 32 (2-CD)
Grateful Dead: Dick's Picks Vol. 33 (4-CD)

January 31, 2012
Maynard Ferguson: The New Sounds of Maynard Ferguson/Come Blow Your Horn—the Complete Cameo Recordings
The Tymes: So Much in Love (plus Bonus Tracks)

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FOR IMMEDIATE RELEASE
September 20, 2011





REAL GONE MUSIC IS NEW REISSUE LABEL CREATED BY MUSIC INDUSTRY VETERANS GORDON ANDERSON AND GABBY CASTELLANA

New Razor & Tie-distributed label will debut in November with Grateful Dead “Dick’s Picks” albums, ? and the Mysterians 180-gram vinyl, David Rose, Ed Ames, Connie Stevens, Joanie Sommers, Shelby Flint, Cameo Parkway Holiday Hits and The Girls from Petticoat Junction

LOS ANGELES, Calif. — The newly formed Real Gone Music re-issue label boasts a diverse release schedule for 2011 and 2012 drawing from both major label licensing arms and independents, featuring such artists as the Grateful Dead, Connie Stevens, Rick Nelson and, kicking off Real Gone’s licensing arrangement with ABKCO Music & Records, Inc., ? and the Mysterians.

Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, aims to establish itself as the most eclectic and prolific catalog and reissue label in the country. The label has announced distribution through by Razor & Tie.

Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. Now, 18 years later, they have joined forces to launch Real Gone Music, a reissue label dedicated to serving both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is a music company dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone. What makes a piece of out of print music real gone?

The label won’t limit itself to any single era or genre. Rather, as Castellana says, “We want to put out titles that, through their repertoire and packaging, inspire the kind of excitement we all felt when we bought our first album or single in a record store . . . music you can lose yourself in.”

In his previous capacity at the helm of Collectors’ Choice Music, Gordon Anderson not only produced more than 1,500 titles for release on compact disc, but also merchandised the #1 mail order music catalog in the United States. Both the Collectors’ Choice Music label and catalog were renowned for their eclectic, knowledgeable assortment of artists and titles and their dedication to quality. Real Gone Music continues the Collectors’ Choice Music tradition, with a broadening of focus to include vinyl and digital releases as well as compact disc. Co-president Gabby Castellana started and built Hep Cat into a major American distributor for the world’s most prominent and respected reissue labels, among them Collectors’ Choice Music.

Real Gone Music will debut in November with 12 titles headlined by the Grateful Dead’s Dick’s Picks, Vols. 34, 35 & 36. “Dick” was Dick Latvala, the official tape archivist for the Dead until 1999, whose inspiration and encyclopedic knowledge of the band’s vaults spawned the fabled Dick’s Picks series of Dead concert volumes. Comprising 36 volumes, Dick’s Picks follows the band on its long, strange trip through a multitude of eras, tours and venues, featuring handpicked shows that display the band at its most visionary, improvisational height. Real Gone Music will bring this cache of Dead concert brilliance to record stores. Many have never been previously available at retail.

November will also bring two original albums from ? and the Mysterians, the legendary garage band known for the smash “96 Tears” on the Cameo label, available on vinyl for the first time in America since their original LP release. Real Gone will reissue the LPs, 96 Tears and Action, on 180-gram vinyl, re-mastered from the original tape sources at 45 rpm for maximum fidelity. Hailing from Saginaw, Michigan, this group of Mexican-American teenagers will forever be anointed as the garage band’s garage band by collectors of ’60s cool: the sound, an insistent three-chord beat powered by that unmistakable Vox organ; the name, taken from a Japanese horror film, and, of course, the sunglasses-donning “Question Mark” himself, who claimed to have been born on Mars and lived among dinosaurs in a past life. The debut album reached #66 on Billboard. And while the Action album saw no chart action, it contains the nuggets “Girl (You Captivate Me)” and “Can’t Get Enough of You Baby!”

Other November highlights include singles collections from ’60s songbirds Connie Stevens, Joanie Sommers and Shelby Flint, each boasting dozens of sides yet to see release on CD. The Girls From Petticoat Junction: Sixties Sounds features sunshine pop from the Hooterville Honeys (Linda Kaye Henning, Lori Saunders and Meredith MacRae), originally released on Imperial Records and timed to coincide with the release of the series on DVD. And, finally, Cameo Parkway: Holiday Hits features 18 holiday-themed tracks (13 never on CD) from the hallowed vaults of the Philly-based indie label by such artists as Bobby Rydell & Chubby Checker, Bobby the Poet, Rudolph Statler Orchestra, the Lonesome Travelers and, last but not least, Bob Seger and the Last Heard, while the label extends its holiday celebration to include long sought-after Christmas albums from composer-arranger David Rose and singer-actor Ed Ames.

REAL GONE NOVEMBER 2011 RELEASE SCHEDULE

November 8
Shelby Flint: The Complete Valiant Singles CD
Connie Stevens: The Complete Warner Bros. Singles 2-CD SET
Joanie Sommers: The Complete Warner Bros. Singles 2-CD SET
The Girls from Petticoat Junction CD

November 15
Grateful Dead: Dick’s Picks Vol. 34—Rochester, NY 11/5/77 3-CD set
Grateful Dead: Dick’s Picks Vol. 35—San Diego, CA 8/7/71, Chicago, IL 8/24/71 4-CD set
Grateful Dead: Dick’s Picks Vol. 36—The Spectrum, Philadelphia, PA 9/21/72 4-CD set
? and the Mysterians: 96 Tears 180-gram LP
? and the Mysterians: Action 180-gram LP
Cameo Parkway: Holiday Hits CD

November 22
David Rose: The David Rose Christmas Album CD
Ed Ames: Christmas With Ed Ames/Christmas Is the Warmest Time of the Year CD


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