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DISCID=190bb514
DTITLE=The Remains / The Remains (Remastered + Expanded)
DYEAR=1966
DGENRE=Rock & Roll
TTITLE0=Heart
TTITLE1=Lonely Week-End
TTITLE2=Don't Look Back
TTITLE3=Why Do I Cry
TTITLE4=Diddy Wah Diddy
TTITLE5=You Got A Hard Time Coming
TTITLE6=Once Before
TTITLE7=Thank You
TTITLE8=Time Of Day
TTITLE9=Say You're Sorry
TTITLE10=Mercy, Mercy (Bonus Track)
TTITLE11=I Can't Get Away From You (Bonus Track - Single Release)
TTITLE12=But I Ain't Got You (Bonus Track - Single Release)
TTITLE13=Me Right Now (Bonus Track - Single Release)
TTITLE14=My Babe (Bonus Track - Single Release)
TTITLE15=I'm Talking About You (Bonus Track - Cancelled Single Release
TTITLE15=)
TTITLE16=Ain't That Her (Bonus Track)
TTITLE17=Baby I Believe In You (Bonus Track)
TTITLE18=When I Want To Know (Bonus Track)
TTITLE19=All Good Things (Bonus Track)
EXTD=The Remains (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginal
EXTD=ly Released September 1966\nRemastered + Expanded CD Edition Rele
EXTD=ased May 15, 2007\n\nAMG EXPERT REVIEW: For years, the debut albu
EXTD=m from Boston's the Remains -- the only album the group would rel
EXTD=ease during their original incarnation -- got a bad rap, not so m
EXTD=uch for its inherent strengths or weaknesses but because a number
EXTD= of writers and fans (most notably Jon Landau) felt it didn't cap
EXTD=ture the power and energy of the band's fabled live shows. But wh
EXTD=ile the live-in-the-studio demo the band cut for Capitol Records 
EXTD=in 1966 (currently available as A Session with the Remains) may b
EXTD=e sharper and more frantic, time has vindicated The Remains as a 
EXTD=superb example of blues-influenced garage rock, tough and swagger
EXTD=ing but with plenty of heart to go along with all that soul. Whil
EXTD=e the early Rolling Stones are a fair comparison to this, if anyt
EXTD=hing the Remains were able to fuse blues and full-bore rock with 
EXTD=a more satisfying sense of groove and Barry Tashian's emotionally
EXTD= charged vocals and bare-wires guitar work are consistently elect
EXTD=rifying on this set's ten songs, while William Henry Briggs' keyb
EXTD=oards offer solid and admirably varied support. While the album g
EXTD=ets off to a midtempo start with the deep and moody "Heart" and "
EXTD=Lonely Weekends," once the band shifts into fourth gear with the 
EXTD=almost-hit "Don't Look Back" this album rocks solidly, and the si
EXTD=x originals show Tashian, Briggs, and bassist Vernon Miller were 
EXTD=all top-shelf songwriters. If The Remains isn't quite the flameth
EXTD=rower set their legend would lead some to expect, it's blue-eyed 
EXTD=soul and blues at its most potent, and one of the most thoroughly
EXTD= satisfying albums to come out of the '60s garage rock era.  \n\n
EXTD=[While the material from The Remains made its CD debut on a 1991 
EXTD=compilation called Barry and the Remains, that disc featured new 
EXTD=digital remixes and rearranged the sequence, folding the songs in
EXTD= with a handful of non-LP single sides and an alternate take of "
EXTD=Say You're Sorry." Legacy's 2007 reissue of The Remains restores 
EXTD=the original sequence and tacks ten single tracks at the end as b
EXTD=onus tracks (though the alternate "Say You're Sorry" is now lost 
EXTD=to history). The 2007 CD also brings back the original mixes from
EXTD= the album's initial LP release, and though they aren't quite as 
EXTD=crisp as their 1991 digital counterparts, Bob Irwin's remastering
EXTD= makes a world of difference, and this disc boasts a clarity and 
EXTD=richness that honors the original sonic intentions while bringing
EXTD= the audio closer to contemporary standards. Hearing the original
EXTD= ten songs in their intended sequence really does make a differen
EXTD=ce, and purists will certainly appreciate hearing this material i
EXTD=n a much closer approximation of its original form; it's a great 
EXTD=reissue of an album that's stood the test of time with flying col
EXTD=ors.]  -- Mark Deming\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the B
EXTD=est of Boston --, May 20, 2007 \nBy  Joseph Nagarya (Boston, MA)\n
EXTD=\nand, for those who know sufficient 1960s Boston music scene his
EXTD=tory, originally from Brookline, they got their start at Boston U
EXTD=niversity, and became the original house band of the Rathskeller 
EXTD=(the "Rat") in Kenmore Square. For garage-rock lovers, and those 
EXTD=who falsely believe punk began in the 1980s. \n\nThey opened for 
EXTD=The Beatles for part of their 1966 US tour. And broke up shortly 
EXTD=after their LP was released -- as happened with many of the day. 
EXTD=\n\nLast I heard, lead singer/guitarist Barry Tashian, and Eric L
EXTD=iljequist, formerly of the best band on Massachusetts's South Sho
EXTD=re, The Orphans, after or in addition to years of work as Nashvil
EXTD=le session musicians, have been backing Emmylou Harris. \n\nThis 
EXTD=has everything on the earlier releae on Epic/Legacy, except in th
EXTD=is instance the first ten tracks are LP-order. This has the origi
EXTD=nal LP cover, but it was the wrong photograph: the person second 
EXTD=from the right -- David Sherman -- was their fill-in bass player 
EXTD=(and long-time friend from late 1970s through mid-/late-1980s). I
EXTD= got the mono of the LP when it came out in 1966, and Dave gave m
EXTD=e his stereo copy. So now I can have the LP-size cover, and at th
EXTD=e same time preserve the near-mint vinyls. \n\nAlso well worth he
EXTD=aring is the CD release "A Session with The Remains," their audit
EXTD=ion tape for Capitol Records, an unrehearsed, straight-from-gig r
EXTD=un-through of their stage set -- but without club noise. These gu
EXTD=ys were hot! \n\nWhy are you reading this? Buy the CD, put on the
EXTD= headphones, and turn it up! \n\n\nAMAZON.COM CUSTOMER REVIEW\n"A
EXTD=merica's greatest lost band", June 24, 2007 \nBy  Fred Cantor (Ne
EXTD=w York City)\n\nI am admittedly biased, since I produced a stage 
EXTD=musical about The Remains, "All Good Things," and am in post-prod
EXTD=uction on a documentary about the group, "They Were How You Told 
EXTD=A Stranger About Rock'N'Roll"--the title is taken from the famous
EXTD= quote Jon Landau wrote in the January 67 Crawdaddy about The Rem
EXTD=ains after their breakup. \n\nBut don't take my word for how fant
EXTD=astic the music is. Just read the following opening sentences fro
EXTD=m Mark Kemp's review in the June '07 edition of Paste Magazine. (
EXTD=Mark, by the way, is the former music editor of Rolling Stone and
EXTD= VP of Music Editorial at MTV.) \n\n"Good as Mick and Keith were 
EXTD=at reimagining rhythm & blues as hard rock on The Rolling Stones'
EXTD= 1964 debut, they didn't hold a candle to what The Remains would 
EXTD=deliver two years later. Had these Boston bad boys stuck it out b
EXTD=eyond their 1966 debut, we might today be calling them--and not t
EXTD=he Stones--the World's Greatest Rock 'n' Roll Band. As it is, The
EXTD= Remains most certainly are America's greatest lost band." \n\n\n
EXTD=Half.com Details \nProducer: Billy Sherrill, Bob Irwin (Reissue),
EXTD= Bob Morgan, Robin McBride, Ted Cooper \n\nAlbum Notes\nAudio Rem
EXTD=asterer: Bob Irwin.\nRecording information: 1965 - 1966.\n\nBoast
EXTD=ing remastered sound and an altered track listing, 2007's THE REM
EXTD=AINS essentially replaces Legacy's earlier BARRY & THE REMAINS di
EXTD=sc. The 20-track set presents many of the finest mid-1960s record
EXTD=ings by the sorely underrated Boston-based garage-rock act the Re
EXTD=mains, who were led by vocalist/guitarist Barry Tashian. Highligh
EXTD=ts include the urgent Animals-like single, "Don't Look Back" (whi
EXTD=ch was featured in the lauded NUGGETS box set), and the gloriousl
EXTD=y jangly "Why Do I Cry," along with an outstanding cover of Don C
EXTD=ovay's R&B classic "Mercy, Mercy." For true aficionados of '60s U
EXTD=.S. garage bands, this collection is indispensable.
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