"SO" and "Killer" Expanded editions

[Dannorama]

There's lots of excitement about these new releases. It's evident that you and the rest of the band are involved to a degree. Not trying to push any envelopes here - just curious if there is anything you can share at this point?
I have two pointed questions...
1.) Are the "soundbites" you all supplied current, or legacy?
2.) Did you guys have any input regarding the mix/sound of these new releases?

I totally understand if this ain't the time or place. I'm personally psyched to get these. Thanks again for EVERYTHING, Dennis!

[Dreary]

Both releases have taken longer than expected. I heard the restoration of the Mar e Sol concert early on. It was done by someone with integrity.
The band participated in extensive interviews about the recording sessions and the live shows, all intricately detailed and expertly written by the legendary Jaan Uhelszki of Creem magazine fame.
It warms my heart to know that, after 50 years, these albums are still loved.
A tip of the top hat to Rhino for faithfully reproducing the original packaging.

[Babysquid]

Out of interest Dennis what happened to “Schools Back In” ?

[Dreary]

Out of interest Dennis what happened to “Schools Back In” ?

I thought "School's Back In" was going to be included but I guess it didn't make the final picks. Likely due to the quality. it wasn't really a song. We were just warming up and goofing around and they recorded it.
The jam was based on a 3-chord progression, and my idea, which was better in theory than in practice, was that the guy was so depressed that he couldn't even make it to the 2nd chord change. We would do big build ups, then fall right back onto the same chord.

[Parish]

Out of interest Dennis what happened to “Schools Back In” ?

I thought "School's Back In" was going to be included but I guess it didn't make the final picks. Likely due to the quality. it wasn't really a song. We were just warming up and goofing around and they recorded it.
The jam was based on a 3-chord progression, and my idea, which was better in theory than in practice, was that the guy was so depressed that he couldn't even make it to the 2nd chord change. We would do big build ups, then fall right back onto the same chord.

Kind of Syd Barrett-esque "Have You Got It Yet?" scenario

[Babysquid]

Do you think there’s any possibility of any of the other albums receiving a similar treatment?

[Dreary]

Do you think there’s any possibility of any of the other albums receiving a similar treatment?

Over the years, there has been insider news of releases that didn't happen so I'm reluctant to say.
I'm pretty sure the success of these releases will determine the value of other releases.

[Parish]

Do you think there’s any possibility of any of the other albums receiving a similar treatment?

Over the years, there has been insider news of releases that didn't happen so I'm reluctant to say.
I'm pretty sure the success of these releases will determine the value of other releases.

Lets get a Battle Axe reissue goin heah!
Freakin...GREAT record...

[Dannorama]

Now that these are out, curious if you had any surprises when hearing these again? The alternative takes are a revelation. They give a glimpse at the experimentation that was happening. Personally speaking, I think that you guys were truly on a different level than your contemporaries.

[Dreary]

Now that these are out, curious if you had any surprises when hearing these again? The alternative takes are a revelation. They give a glimpse at the experimentation that was happening. Personally speaking, I think that you guys were truly on a different level than your contemporaries.

I'm still waiting for my copies to arrive so I'll have to get back to you on what I think about them.

[Saint&Sinner]

As is said elsewhere the albusm themselves are great, they were in the 70s they are now. Ezrin knocked it out the park so other than pushing up the low end a bit more (which sounds really nice tbh) the reissues are as expected but yeah the alternate versions are superb. i genuinely love them, they sound like actual album tracks, not demos or anything and i was surprised at the quality. Its really interesting to hear the changes and evolutions in the songs and i am fascinated by a hornless under my wheels! any thoughts from you?
i really hope they do well so we get more. the ACG (and alice solo) is criminally overlooked when it comes to good reissues

[Dreary]

I'm still waiting for my albums to arrive.
Of course, I like hearing that the bass is a bit more prominent. I seem to recall that Bob had t-shirts made for each of us - mine said MORE BASS and Neal's said MORE DRUMS etc. jokingly signaling us to save our breath and be quiet during the mixes.
I'm especially looking forward to hearing the raw version of "Under My Wheels" as initially I was against adding the horns because I thought the track was strong without them, but my opinion wasn't in the majority.
At that time, it seemed like radio stations were playing songs with horns. The Stones and even the Doors seemed to be following suit.
The sales of these re-issues will likely determine the value of releasing other re-issues, especially with such elaborate packaging. There's a lot of Alice content releases lately so I hope these are strong contenders.

[Dannorama]

I'm scared to ask... Did you get your albums yet?

[Dreary]

I'm scared to ask... Did you get your albums yet?

Yes, my copies finally arrived. That news got a sigh of relief from Toby Mamis, who has always been very accommodating.

Opening the box and looking at the vinyl packaging gave me that old time feeling of excitement. There's lots of reading involved. Jaan Uhelszki is a great writer because she's a great conversational interviewer. And I never realized Bill Holdship was such a big fan. Creem magazine was a significant part of our rise to popularity but Lester Bangs wasn't always the kindest reviewer. I might even say brutal at times.

I've listened to the CDs in my car and the bass is more prominent especially on the Killer album.

I had heard the Mar y Sol live set because a friend Brian Kehew restored the original tapes about 6 years ago and I'm glad to see that it's finally released. Of course, my mind is full of memories of us playing that show to an early morning crowd after staying up all night. I like hearing Michael and Glen's parts pop out of the mix. Generally, the bass was very low in live mixes because, in those days, most P.A.s had to compete with the combined volume of the stage amplifiers, and pushing the bass through the P.A. tended to muddle the vocals. That worked fine because my bass amps were mighty powerful and could handle shows on their own. Those original board mixes were for reference and never intended for release. Thanks to today's technology, frequencies can be targeted, and even isolated, and brought up in the mix.

The thing that critics tend to overlook when they point out looseness in our live shows is that we were often ducking from beer cans and being poked with a sword while we were playing.

I've listened to the vinyl albums on my home stereo and again at a friend's house, and again, found the prominent bass most noticeable. There is more separation between instruments overall, and a freshness to the sound.

I'm still trying to find time to listen to the Miami set. And I still haven't listened through headphones. This shouldn't be taken as a lack of interest. Finding time for music isn't always easy in daily life, and so I dedicate most every minute of it writing new songs.

All in all, thanks to Warner/Rhino for releases that show integrity, and thanks to all of you for your continuing enthusiasm.

[Parish]

Creem magazine was a significant part of our rise to popularity but Lester Bangs wasn't always the kindest reviewer. I might even say brutal at times.

I just read his Killer review from 1972 and it did seem like he took a long stroll around pompousville to ultimately say the band was great...

[Parish]

Creem magazine was a significant part of our rise to popularity but Lester Bangs wasn't always the kindest reviewer. I might even say brutal at times.

https://www.rollingstone.com/music/musi ... er-118227/

I just read his Killer review from 1972 and it did seem like he took a long stroll around pompousville to ultimately say the band was great...

[Ted Sallis]

Dennis wrote: All in all, thanks to Warner/Rhino for releases that show integrity, and thanks to all of you for your continuing enthusiasm.

I consider the ACG to be not only the best classic rock Group of all time, but also the Grandfathers of elaborate album packaging and as the saying goes, you can't equal or better the originators.

Next to the music (of course), I consider the Group's album packagings their greatest triumph and legacy, rather than the theatrics. A super salute to you, Dennis and to everyone else involved in making your Group so formidable in so many ways.

Ted

[Dannorama]

Well said, Ted. Also, I gotta believe that one of these hitting you would leave a mark.

[tuneylune]

I'm scared to ask... Did you get your albums yet?

Yes, my copies finally arrived. That news got a sigh of relief from Toby Mamis, who has always been very accommodating.

Opening the box and looking at the vinyl packaging gave me that old time feeling of excitement. There's lots of reading involved. Jaan Uhelszki is a great writer because she's a great conversational interviewer. And I never realized Bill Holdship was such a big fan. Creem magazine was a significant part of our rise to popularity but Lester Bangs wasn't always the kindest reviewer. I might even say brutal at times.

I've listened to the CDs in my car and the bass is more prominent especially on the Killer album.

I had heard the Mar y Sol live set because a friend Brian Kehew restored the original tapes about 6 years ago and I'm glad to see that it's finally released. Of course, my mind is full of memories of us playing that show to an early morning crowd after staying up all night. I like hearing Michael and Glen's parts pop out of the mix. Generally, the bass was very low in live mixes because, in those days, most P.A.s had to compete with the combined volume of the stage amplifiers, and pushing the bass through the P.A. tended to muddle the vocals. That worked fine because my bass amps were mighty powerful and could handle shows on their own. Those original board mixes were for reference and never intended for release. Thanks to today's technology, frequencies can be targeted, and even isolated, and brought up in the mix.

The thing that critics tend to overlook when they point out looseness in our live shows is that we were often ducking from beer cans and being poked with a sword while we were playing.

I've listened to the vinyl albums on my home stereo and again at a friend's house, and again, found the prominent bass most noticeable. There is more separation between instruments overall, and a freshness to the sound.

I'm still trying to find time to listen to the Miami set. And I still haven't listened through headphones. This shouldn't be taken as a lack of interest. Finding time for music isn't always easy in daily life, and so I dedicate most every minute of it writing new songs.

All in all, thanks to Warner/Rhino for releases that show integrity, and thanks to all of you for your continuing enthusiasm.

Hi Mr Dunaway,

I got the K and SO reissues earlier this week at Newbury's and big thumbs up to all concerned. Played KILLER this AM and really liked the alternate take of "You Drive Me Nervous" as well of any live recordings of the five of You.

Jaan was one of CREEM's better reviewers; she might like something, but she wouldn't go off the rails like Lester Bangs did-which he did frequently. Bill Holdship had a fabulous piece on Alice around the CONSTRICTOR tour and detailed much of what is in the KILLER liner notes.

TL