TS: Lone Justice or Cruzados or Drivin' & Cryin' or Green On Red or Del Fuegos or Jason & The Scorchers or Long Ryders or Bodeans?

We should mention (a) McKee scored a #1 hit in England with "Show Me Heaven" and (b) I hear McKee in Neko Case, and not to McKee's credit.

re(b): how so?

Neko Case also a big-voiced artist whose marketing has little bearing on what she is: Lone Justice-style slick rock.

Belters both. Neko could do "Wheels."

Meanwhile:
https://www.youtube.com/watch?v=mrLph5vW7BU

Belters both, yeah, and pop elements, but their broody, restless, sometimes woolgathering lyrics tend go against the grain of "slick-rock" per se---increasingly so on the post-LJ albums I've heard (which, in the piece, have me thinking of Ziggy Bowie) def on several Case albums, incl The Virginian, Furnace Room Lullabym and The Worse Things Get.

Thanks for the Green On Red.

Thread revival reminded me a piece I wrote a few years ago on the positioning and marketing of these mid eighties bands.

I saw Lone Justice twice, both times opening for U2. The first time, in early 1985, they were booed before they even started playing. Even a raging cover of "Fortunate Son" didn't lessen the boos.

The second time was in 1987, around the time "Shelter" was a near-hit. They just got polite applause.

I thought their first record was OK, but McKee's Life Is Sweet towers over everything else they/she did (with the possible exception of "Non-Religious Building" on High Dive, easily the most effective and/or hilarious Who pastiche of the last 25 years).

Robbie Robertson didn't do poor Maria any favors in the last minute of this video. It's a tough watch...

http://m.youtube.com/watch?v=4KP9PNSUME4

Yeah, on Rolling Reissue, Tarfumes and I were talking about the hazards of opening for young U2 and their multiplying multitudes (Pylon's Randy Bewlay: "It was like touring with Jesus Christ").

The weird thing is, supposedly the Red Rockers -- who opened for them the night before -- were warmly received. wrt Lone Justice, I suspect the Chicago crowd thought this "country music" was strictly cornballsville, hence the booing.

But why did they give Pylon so much trouble, at several shows? Zealous converts to B.O.N.O., mebbe.

Pretty sure even REM got a rough time on a U2 led bill in 1985

well, yeah. The hair!

That doesn't sound right? R.E.M. sort of swore off opening for big bands after they toured with the Police around '83.

Pretty sure R.E.M. opened for U2 in Europe in '85, though.

And now that I remember it, I saw the BoDeans open for U2 in 1987 also. They weren't booed. They should have been.

I saw Lone Justice open for U2 on the Joshua Tree tour in East Rutherford. They seemed good but the sound was godawful.

Next time I saw them, the Pixies opened, a few months before they broke up. Last time it was Interpol, who are not a daytime stadium show band.

This Is Lone Justice: The Vaught Tapes 1983--blasting their club set in a good li'l studio. No stereo-typical 80s glitz; like the booklet says, "quick and dirty," never blurry, though a few of the originals could use more well-thought-out trad lifts/folk process, a la "Soap Soup And Salvation," which makes well-timed use of "When The Roll Is Called Up Yonder" without getting mawkish; good speedy, confident cover of "Jackson" too. "This Is World Is Not My Home" goes from Carter Family/Woody G. rumination to poignant-with-a-beat "Soap"-style convocation to whooo, ready to meet them angels with sum white line fever (this would be the punkabilly or cowpunk, I take it).

Oh yeah, and Common Ground: Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy turns out to be surprisingly lively-- not because of Phil's health probs, but mine: I was bored dead by a box of BBB several years ago. Phil's in fine voice, Dave sings okay, and of course plays his ass off, but only to enhance the material, as well he might. Gene Taylor tickles the ivories, and---although guests like LJ's Don Heffington also keep the rhythm section reet---can't help wishing they'd gotten Bazz and Bateman (who have often been live Blasters with Phil) back in there. But making it a full-fledged Blasters album---suggested title: Broonzy--- might bring back a lot of bad blood, which even seemed like it might bubble up in a couple moments of P&D's recent and v. brotherly Fresh Air interview. Common Ground AKA Truce, eh? I'll take it.

Lone Justice or Cruzados or Drivin' & Cryin' or Green On Red or Del Fuegos or Jason & The Scorchers or Long Ryders or Bodeans?

Alex, What is Mitchell Froom?

I love this thread. Probably the best of the lot is the first Maria McKee (Can't Pull The Wool Down, Drinkin' In My Sunday Dress), and the Essential Vol. 1 Jason mentioned upthread, though I'll admit to a fondness for the Del Fu-e-gos Slash debut. Just recently decided Gas, Food, Lodging is vastly overrated, and a get re-acquainted with Drivin'n'Cryin didn't turn out so well either.

I'm most likely to listen to those weird Latin Playboys records these days anyway.

Common Ground: Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy

i've seen phil and dave play this stuff live twice this year. full-band electric set at sxsw was loose and fun if not great. mostly what i remember, from my perch pretty close to the stage, was that phil looked 90 years old but sounded 30 years old. that voice of his is protected by the good lord. in los angeles a couple weeks ago, at one of gary calamar's mimosa music brunches in north hollywood, they played acoustic, just the two of them, and it was fantastic. i'm pretty sure it was the first time i've ever seen dave play an acoustic live (mostly a national steel) -- he's good at it, needless to say -- and certainly the first time i've seen either of them before noon. dave sang more than i expected (and more than i probably would've liked) but the years have been kind to his voice, too. there's more voice there than there used to be. the songs worked great in that setting. also, not surprisingly, the alvins have no idea what mimosas are.

Yes...Latin Playboys records are great. Mustard from the 2nd album could be a hit.

also, not surprisingly, the alvins have no idea what mimosas are.

I kinda love this detail.

Two Green on Red items:

http://blurtonline.com/feature/college-rock-chronicles-pt-4-green-red/

“I was in a band that got thrown on the bill with these ‘Paisley dudes,’” recalls Prophet, of his initial encounter with the band. “My first impression was they looked like guys who should be operating the rides at a carnival. They played and it blew my mind! It was chaotic as hell, but really entertaining and musical, and the songs were there.”

Also, have had this as a bootleg on vinyl since high school, just found the video recently:

https://www.youtube.com/watch?v=ixKJq3F4lXo

Dan Stuart was only in his mid 20s during the GOE mid 80s peak?

He seems a lot older

Actually a lot of these people seem older than the Husker Du/Replacements/Minutemen crowd, even if they really werent at all.

GOR = Green on Red

Word from Chuck P.:

-------------------------------------------------------------------
CUT ALONG DOTTED LINE

Hello Trolls, haters, lovers and players,

It’s a party and we’ll cry if we want to. As you have no doubt heard by now Yep Roc will be releasing our new LP, Night Surfer, on CD, cassette and (yes, yes, yes… vinyl too!). RELEASE DATE: September 23rd, 2014.

To celebrate, we’re throwing a private little get-together happy hour party in San Francisco for the insiders who subscribe to this newsletter.

Here’s the deal: The first 50 people to sign up will be our guests at a secret location in San Francisco. Free drinks on us, people! We’ll also have some guitars and drums on hand so who knows? We might even be nudged into playing some music. Hope you can be there when the deal goes down. Next Wednesday Sept. 24th 5-7 PM. Here’s the sign up link: http://tinyurl.com/mkyhjwb

Until then, you can stream our new "jamming, occasionally neurotic" album at Esquire Magazine: http://www.esquire.com/blogs/culture/chuck-prophet-night-surfer

And in other news: For those of you spread out around the globe, John Murry and I will be on Radio Valencia live. Spinning tales and LP’s and taking calls too. You can call the studio line and listen along to the uncomfortable silence of dead air as the DJ tries to figure out how to get you on air. HERE: 415-962-7979

Seriously, John Murry and I will be opening the lines to our souls on the show. Literally. You can just pick up the phone and call. We’ll be there for you. Whatever is wrong in your life, we will attempt to fix. We will also make fun of you if you call and are utterly disinteresting. There's no greater sin than being a tacky bore. It ruins every dinner party. Look, we just wanna talk, dig? We come in peace. Call us for assistance or spiritual guidance or to attack us or try to win an argument (or start one between us). Or just to tell an entertaining story. Goddammit, talk to us! On the air! Okay? Here are the deets: Sunday night, sept 21. Show is from 10 til midnight. Special thanks to our host Jim Granato for inviting us down to the new Radio Valencia Studio in the heart of San Francisco’s Mission District. It’s gonna be good: http://radiovalencia.fm/waxcracklepop/

In other news our Newcastle show is still very much on. Note the cluster-lunch of gigs below. It’s our little attempt to re-create a Black Flag van tour circa 1983. How are we doing so far?

Always,

-CP

Oops sorry, here's the gigs of which Prophet speaks:

http://chuckprophet.com/gigs/

I forgot that I used to have a Maria McKee solo record. maybe even two of them? I think they were good.

You Gotta Sin to Get Saved is really really good.

seconded

From Nashville, not LA, but def adding to the tiny, out-behind-the-barn cowpunk pantheon: Jason & The Scorchers roll through Irving Plaza, live for local radio and recording for King Biscuit Flour or Flower Hour's syndicated source of so much liberated goodness. '84, "we just signed with EMI-American," fresh 'n' fuzztone-branded, slamming back and forth in the cattle car, with every song I can recall, except "Both Sides of the Line." Not too fast or slow, only 41'21 seconds, though intense enough that I had to take a short break halfway through, which is rare. Only prob: Jason's vocals are so wholesome, he sometimes makes zingers and sexual sour grapes come across like light breakfast materials, but doesn't misplace the caffeine, and certainly nails the stood-up "how could this happen to Meeee?!" of Kid D.'s "Absolutey Sweet Marie."
http://bigozine2.com/roio/?p=1975

I'm really enjoying this Scorchers show ... I can't believe I remember all those goofy lyrics. Seeing them in 1982 was a life lesson. This is a much more faithful representation of their strengths than any of the studio recordings.

Dan Stuart's testimony, reviewed on Amazon by Chuck Prophet (and others):

http://www.amazon.com/Deliverance-Marlowe-Billings-Memoir-Stuart/dp/0957171722/ref=sr_1_2?ie=UTF8&qid=1421286640&sr=8-2&keywords=dan+stuart

Green on Red, Raleigh '85:
Same source as the Jason & Scorchers set posted above, though not as consistent: they're having occasional mic problems, as they eventually mention, though it's most noticeable early on, although the playing is pretty straight-ahead. Only prob: almost an hour of mostly mid-tempo, and Stonesiness can slip into Pettyness, though I realize most people wouldn't mention TP in a negative sense. Vibier levels do open wider in "Down By The River" and "Sea of Cortez," back to back in the middle; ditto the locomotive finale, "Fading Away." Also good "Hair of the Dog" and others. Works better when the keyboards get more room, but some quite pertinent pickin' too. H'mmm, wonder what GOR Spotify might have? Oh yeah, the link!
http://bigozine2.com/roio/?p=2202

Speaking of the Scorchers, Warren Hodges is playing lead (for sure) with Drivin N Cryin om MusicCityRoots.com's livestream right now, also audio-only (cool on headphones) at http://www.hippieradio945.com/ Click on Listen live (or check podcast on musiccityroots. com tomorrow or soon)

MusicCityRoots.com's *livestream,* I meant to say

Livestream, dammit!

http://d31hzlhk6di2h5.cloudfront.net/20150420/d1/7b/1d/a7/4b3c76837d2a808b5f172bf0_280x280.jpg

http://d31hzlhk6di2h5.cloudfront.net/20150420/32/f5/7e/92/27743e1e9f936cd97e11061a_280x280.jpg

THE TEXTONES’ FIRST TWO ALBUMS
— MIDNIGHT MISSION AND CEDAR CREEK —
TO BE REISSUED IN EXPANDED EDITIONS
BY OMNIVORE RECORDINGS ON MAY 26
Carla Olson’s ’80s band combined punk, power pop and Texas roots.
Albums feature guest appearances by Gene Clark, Ry Cooder,
Ian McLagan, and Howie Epstein,
plus co-write with former Textones member Kathy Valentine.
LOS ANGELES, Calif. — Taking the early ’80s L.A. club scene by storm, the Textones were respected by those in the know for both their song craft and musicianship, as well as for their groundbreaking hybrid of new wave and what would one day become known as Americana. On May 26, 2015, Omnivore Recordings will reissue expanded editions of the band’s first two albums, Midnight Mission and Cedar Creek.
The Textones released an EP in the U.K. and a single in the U.S. But it was after singer/guitarist Carla Olson brought in guitarist George Callins, multi-instrumentalist Tom Junior Morgan, bassist Joe Read, and former Dwight Twilley Band member Phil Seymour on drums to the lineup that the magic truly happened.
Signing to Danny Goldberg’s Gold Mountain label, the Textones’ debut album, Midnight Mission, encompassed everything they’d done, and took it a step further. Produced by Barry Goldberg and Brad Gilderman, and featuring contributions from Gene Clark, Ry Cooder, and Don Henley, Midnight Mission was a mix of rock, blues, and country that captured the band’s live energy. After Olson appeared in Bob Dylan’s “Sweeheart Like You” video, he offered up an unreleased song, “Clean Cut Kid,” which blended perfectly with the band’s originals.
This reissue features five bonus tracks — three songs recorded for the film Sylvester, as well as a two previously unissued live cuts from their performance on Rock of the 80’s, recorded in 1984 at the Palace in Hollywood.
Robert Hilburn wrote in the Los Angeles Times: “ Olson, a lanky singer and songwriter moves about the stage with the sensual confidence of Tom Petty ... Midnight Mission is a refreshing blend of American rock purity and clear eyes commentary ...”
Echoed Mikal Gilmore in the Los Angeles Herald-Examiner: “ A roaring and thoughtful delight. Workingman populism and Rolling Stones-style rave-ups ... Like Bruce Springsteen, Olson took an unsparing look at the dissolution of the American Dream and newly resolved. Listening to her, so did I.”

It would be three years before the Textones followed up their acclaimed debut, Midnight Mission. But, it was well worth the wait.
Cedar Creek appeared in 1987 on a new label, Enigma Records, and Carla Olson, George Callins, Joe Read, and Tom Junior Morgan were joined by new drummer Rick Hemmert.
Produced this time by Michael Stone and the band, Cedar Creek features nine originals, including a co-write with original Textone (and Go-Go’s member) Kathy Valentine, who left the group in 1981 to find fame with the Go-Go’s. And, much like its predecessor, legendary contributors like future Rock ’n’ Roll Hall of Famers Ian McLagan and Howie Epstein make appearances.
John Fogerty said of the song “No Love in You” (three versions of which are included amongst the two reissues): “ Not only is ‘No Love in You’ my favorite song of 1984 but I always look forward to driving somewhere so I can listen to it four or five times.”
In addition to the original album the oft-bootlegged 1987 performance from the Catalyst in Santa Cruz gets an official release. The blistering eight-track set features songs from both of the band’s albums. According to Olson in the new liner notes, “I don’t wag my tail much about this, but the Catalyst show is one of the best examples of how well I can sing when it all works. It’s some of the best singing I’ve ever done.”
Olson is excited to have this music out there once again: “ As the sticker on the original release of Cedar Creek announced, ‘Rock With Roots, the great Rolling Stones album the Stones never recorded.’ That kind of high praise was unexpected, especially in light of the similar response Midnight Mission received and its middling commercial success. It further stated, ‘Take a pinch of Austin, Texas, a dash of L.A., mix in commanding vocals and crackling guitars and you've got the perfect recipe for a classic album.’ We were ahead of our time or just didn’t get the breaks needed? An artist never knows. What I do know is that when the Textones played together we created a musical fabric never far from our many influences and diverse backgrounds and that the connection we felt between us was one of the joy of entertaining and the hopefulness of our music. We are glad the music is being made available again especially with the live set that we've added to Cedar Creek. We were one hell of a rock ’n’ roll band.”
Midnight Mission track listing:
1. Standing in the Line
2. Hands of the Working Man
3. No Love in You
4. Running
5. Number One Is to Survive
6. Midnight Mission
7. Upset Me
8. Luck Don’t Last Forever
9. Clean Cut Kid
10. See the Light
Bonus Tracks
11. It’s Okay
12. Just a Matter of Time
13. Number One Is to Survive (Alternate Version)
14. Running(Live)
15. No Love in You (Live)
Cedar Creek track listing:
1. Not Afraid
2. Every Angel in Heaven
3. Another Soul Searcher
4. One Love
5. Austin
6. Gotta Get Back Home
7. You Can Run
8. Cedar Creek
9. We Can Laugh About It
Bonus Live Set Recored at the Catalyst, Santa Cruz, Ca, 11/20/1987:
10. Gotta Get Back Home
11. Not Afraid
12. No Love in You
13. You Can Run
14. Austin
15. Upset Me
16. Every Angel in Heaven
17. Standing in the Line

http://d31hzlhk6di2h5.cloudfront.net/20150420/0d/bd/74/0f/fd07dcdd78f4f241c6169dd1_280x234.jpg

Not quite the right thread, but what is? (Can't put everything on Rolling Reissues.)

It fits here, but I bet most ILMers know of Carla Olson from her duet album with Gene Clark.

In other news, it turns out The Reivers, a rootsy 80s band that fits this thread to a T, has gotten back together and released a new record a year or two back.

Still haven't checked out The Reivers, must do that.
Meanwhile:

http://d31hzlhk6di2h5.cloudfront.net/20150429/5d/40/77/88/6c0765cb3a48497ac107d5f2_280x280.jpg

THE DREAM SYNDICATE’S ICONIC DAYS OF WINE AND ROSES
BACK IN PRINT WITH UNHEARD BONUS TRACKS FROM REHEARSAL
COMING JUNE 16 ON OMNIVORE RECORDINGS
Remastered expanded reissue contains liner notes from band’s peers —
members of Rain Parade, Long Ryders, Green on Red,
Divine Weeks, and Sonic Youth

The Dream Syndicate
http://d31hzlhk6di2h5.cloudfront.net/20150429/6d/51/17/ee/9552ea119b006f8fa8f917d6_280x261.jpg
(photo by Edward Colver)

LOS ANGELES, Calif. — The Dream Syndicate’s debut album, The Days of Wine and Roses, has long been considered the cornerstone album of L.A.’s early ’80s Paisley Underground scene, from which the band emerged. However, it was more influential than that: along with R.E.M.’s Murmur and the Minutemen’s Double Nickels on the Dime, the release is often considered one of the cornerstone albums of ’80s indie-rock. In a way it is the missing link between the ’60s-influenced R.E.M. and the post-punk Minutemen. Later period bands such as the Pixies and Nirvana were formed out of the sonic ashes that the original Syndicate lineup left behind.
The original lineup of Steve Wynn, Karl Precoda, Kendra Smith, and Dennis Duck took seminal ’60s rock — most obviously the Velvet Underground along with Buffalo Springfield and the Rolling Stones — and filtered it through the more modern sounds of the Fall and L.A. punk bands Flesh Eaters, Gun Club, et al. In fact, it was flesh eating front man Chris D. who produced The Days of Wine and Roses and got it released on Slash Records, one of the premier L.A. labels of the punk rock era.
Strangely, despite its seminal status, The Days of Wine and Roses has been out of print for the better part of a decade or so. With the rebirth of the band as a live/touring unit over the past two years, Omnivore Recordings has seen fit to remaster this gem, releasing it June 16, 2015.
Calling on the band’s long time archivist Pat Thomas (previously producer of reissues of four other titles from the Dream Syndicate), the previous “bonus tracks” from the 2001 Rhino CD have been replaced with a slew of never-before-heard songs and/or recordings that capture the first year of the classic lineup of Wynn/Precoda/Smith/Duck in all their low-fi glory. These are rehearsal tapes that capture a pair of songs that later turned up on the Medicine Show. Longtime fans have often wondered what it would have sounded like had Kendra Smith stayed in the band for its second full-length album. Now the band’s followers will know: these versions don’t possess the ’70s FM rock sound that Medicine Show had. Instead, they sound like Television’s Marque Moon LP. The four other bonus tracks included in this new version are four original, vintage Dream Syndicate songs that nobody outside the band has ever heard, including a nearly 10-minute Kraut-rock-inspired jam!
The booklet has been revamped as well with new notes that describe the source of the vintage recordings along with fresh testimonies from their peers — members of the Rain Parade, the Long Ryders, Green on Red, Divine Weeks, and Sonic Youth — as well as former Rhino VP of A&R Gary Stewart, and music journalists Chris Morris and Byron Coley.

This is a reissue that is essential for both long time fans who’ve already collected it all before —and the new kids on the block who will soon discover the soundtrack of ’80s college radio for the first time.
According to annotator Byron Coley: “The record still sounds fresh to me. They really captured the sound of a universe expanding. And that is no common thing.”
Track Listing:
Tell Me When It’s Over
Definitely Clean
That’s What You Always Say
Then She Remembers
Halloween 

When You Smile 

Until Lately 

Too Little, Too Late* 

The Days Of Wine And Roses 

Previously Unissued 
Bonus Rehearsal Recordings: 

Is It Rolling, Bob?

A Reason

Still Holding On To You
Armed With An Empty Gun
Like Mary

Outside The Dream Syndicate

Oops, left out the trailer

https://www.youtube.com/watch?v=vTx6MFk9Pak&feature=youtu.be

first listening to that reissue: never have bought Wynn as front man for the most part: seems most effective when he sets up an okay ominous verbal intro, then steps aside for Precoda's swarms (and his own rhythm guitar gouges pretty good too). Sure wish Kendra Smith got to sing more than one song. The rehearsal tapes sound good, esp. since Wynn's voice is off to the side, and my fave of them is the strictly instrumental "Outside The Dream Syndicate," 10:43 and already well under way along when track starts.

"along"? sorry

Long Ryders, Stache's, Columbus OH, 4-2-84:
Good sound, though kinda monotonous at first, but they crank up the jangly cowpunk in the second half, starting with "Final Wild Son," about "a friend of ours who's in trouble," a guy from Memphis, who isn't worried about dead legends cos he's livin' his, and the devil won't take his soul; he'll smoke it up before he goes. They close with "The Rains Came" "(adding lyrics:"Augie Meyer is our friend" and "Haven't seen Doug Sahm since he left this town"), "Sometimes Good Guys Don't Wear White," "You're Gonna Miss Me," and "Jumping In The Night." Not a medley.
http://bigozine2.com/roio/?p=2271 There's an '85 Stanford show on here too; I haven't listened yet.

x-post--Loved that first Dream Syndicate album when it first came out

Initially, I like about half of this---16 tracks---but those are strong, and others may grow on me. Wasn't expecting such intense, on point instrumentalism: truly electric fedora.

CONTINENTAL DRIFTERS’ TWO-CD COMPILATION
DRIFTED: IN THE BEGINNING & BEYOND
COMING ON OMNIVORE RECORDINGS ON JULY 17
The group, known for dual citizenship in L.A. and New Orleans,
featured Vicki Peterson (Bangles), Susan Cowsill (The Cowsills),
Peter Holsapple (The dB’s) and others.
Continental Drifters (photo by Greg Allen)
LOS ANGELES, Calif. — Born in Los Angeles in the early 1990s via a residency of jam sessions at a Hollywood dive club called in Raji’s, then relocating to New Orleans, the Continental Drifters lasted about a decade, ending when Hurricane Katrina demolished their homes and the band members scattered.
Key members included Vicki Peterson (Bangles), Susan Cowsill (The Cowsills), Peter Holsapple (The dB’s, R.E.M.), and many others — including the only member who has been with them from the beginning, Mark Walton (Giant Sand, The Dream Syndicate). However, there were also several singer/songwriters (Carlo Nuccio, Gary Eaton, Ray Ganucheau) who shine as brightly as their slightly more famous bandmates. That’s the magic that we’ve captured on Disc One of this set with the band’s earliest recordings — many previously unissued, others that only appeared briefly on a German-only album.
On July 17, 2015, Omnivore Recordings will issue the 2-CD Continental Drifters compilation Drifted: In The Beginning & Beyond.
The best possible comparison is that the Continental Drifters had a similar vibe to the classic roots combo Delaney & Bonnie & Friends — more of a “collective” than a band — in which there were several distinctly original lead singers, blistering sidemen instrumentalists and an inspiring blend of both original and seminal cover songs with a Southern-fried, blue-eyed soul approach that couldn’t be beat.
Disc Two, an incredible treat for the band’s hardcore fans as well as fans of classic roots music in general, was culled from live sets, tribute albums (Gram Parsons, The Hollies) and the rare 2001 European only EP Listen, Listen, their valentine to Fairport Convention’s Sandy Denny and Richard Thompson, as well as other unheard treasures.
According to Peter Holsapple, “I believe that this was a band who were the very illustration of a shattering live experience, the embodiment of a force majeure, a family-style drinking society of impavid proportions, and purveyors of some of sweetest harmony songs of its decade. Having Omnivore work its magic on a Drifters’ record is a testimony to the sonic worth of that record; I'm really happy that fans will be able to experience the music in this way, after all this time. Sounded great then, sounds great now!”
Susan Cowsill comments, “I love that we are an old enough band that people consider things we’ve done in the even further past as some kind of importance. We didn’t see that coming way back in the early days! How cool is it to be 2015 and have a Continental Drifters release. I've often thought that our band is, was and always will be timeless. Glad others think so too! Can’t wait for the release, wonder if I can get the band to autograph it?”
Vicki Peterson adds, “Playing in the Continental Drifters rescued my musical soul. This collection captures the early moments when I first fell in mad love with the band.”
Drifted: In The Beginning & Beyond (re)-introduces the Continental Drifters, explores their influence and magnitude, and fills in the gaps of their expansive career. Informative notes from Scott Schinder help tell the story with interviews from band members. It is a trip well worth taking.

DISC ONE:

1.Who We Are, Where We Live 
(Early Version)* 


2.Side Steppin’ the Fire 


3.The Mississippi

4.Match Made in Heaven

5.Karen A (Demo)* 


6.The Rain Song (Early Version)* 


7.Dallas (Alternate Mix)* 


8.Here I Am 


9.Mr. Everything (Alternate Mix)* 


10. No One Cares 


11. Green (Demo)* 


12. I Didn’t Want to Lie 


13. Invisible Boyfriend 


14. New York (Demo)* 


15. Let It Ride

DISC TWO:

1. You Don’t Miss Your Water (Live)*

2. Crescent City (Live)*


3. A Song for You


4. Tighter, Tighter (Demo)*

5. I Can’t Let Go


6. Some of Shelley’s Blues (Campfire Mix)*

7. When You Dance I Can Really Love

8. Turn Back the Hands of Time (Live)*


9. Farmer’s Daughter (Live)*

10. Dedicated to the One I Love (Live)*

11. At the End of the Day (Live)*

12. Listen, Listen


13. I Want to See the Bright Lights Tonight

14. The Poor Ditching Boy

15. You’re Gonna Need Somebody

16. I’m a Dreamer


17. Matty Groves


18. Meet on the Ledge (Studio Version)

* previously unissued

oh yeah, and the trailer:

https://www.youtube.com/watch?v=v7PahihOaXg&feature=youtu.be