SMITHEREENS BEATLES MEET SMITHEREENS 2 LP SET + CD BONUS + DATE WITH 45 SINGLES

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106

The Smithereens COLLECTORS SET -  STARTS WITH THE DOUBLE VINYL LP SET OF MEET THE SMITHEREENS &  B-SIDES THE BEATLES

PLUS THE CD OF THE LATTER TWO TITLES

PLUS AS A BONUS SMITHEREENS ROCK TOMMY CD 

PLUS AS A BONUS FOR SMITHEREENS FANS -  A DATE WITH THE SMITHEREENS 45 SPEED 7 INCH SINGLE BOX SET OUT OF PRINT SINCE THE 90'S -

COLLECTORS NOTE: ALL THESE TITLES ARE SEALED AND 1ST EDITION PRESSINGS OF EACH TITLE 

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Factory Sealed Special Edition Out of Print Box Set featuring four 7” singles, including 2 unreleased tracks and special producer mixes.

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STARTS WITH THE DOUBLE VINYL LP SET OF MEET THE SMITHEREENS &  B-SIDES THE BEATLES VINYL LPS & CDS

Sometimes recording even a single Beatles cover can be a perilous undertaking. So for the Smithereens to have the impudence to rerecord Meet the Beatles in its entirety (even though some purists don't recognize it as canonical) is like taking the studio to edge of the cliff. But wait! While reaching the Fab Four stratosphere is impossible, this New Jersey pop combo, whose last record was released in 1999, comes about as close as any band could in celebrating the 43rd anniversary of this groundbreaking record. Sure, the lead-vocal fury that Lennon and McCartney created in 1964 can't be restored, and the three-part harmonies are less than hair-raising. But from the opening three chords of "I Want to Hold Your Hand," the Smithereens are respectful to the album's legacy, and let virtually no element slip past them. There's that "1-2-3-4!" countdown to "I Saw Her Standing There," the same virile harmonica in "Little Child," and a doo-wop tang to the ever-underappreciated "This Boy." And when "Not a Second Time" fades out the last of the album's 28 minutes, it leaves you wondering if the boys are bold enough to take a crack at Abbey Road in September 2009.

The Smithereens show "all their loving" for the "Meet The Beatles" album with this wonderful tribute to the fab four's 1964 U. S. release. And what an excellent labor of love it is! The Smithereens affectionately invoke the original spirit of the Beatles' landmark album while still managing to sound unmistakably like the Smithereens in the process. Pat DiNizio's distinctive vocals make the band's version of "This Boy" both poignantly wistful and beautiful at the same time. His feverish harmonica playing on "Little Child" is a bluesy-rock jam that builds on the original John Lennon mouth organ blueprint. Jim Babjak prods his guitar to power pop and crunch on rockers like "Hold Me Tight" and he even takes a rare lead vocal turn on "Don't Bother Me". Severo "the Thrilla" Jornacion thrills on pulsating bass. Dennis Diken masterfully switches gears from propulsive drumming on "I Saw Her Standing There" to a rhumba beat on "Till There Was You". He trades vocals with Pat on "Little Child" and follows Ringo's example by doing the lead vocal duties on "I Wanna Be Your Man". The sum of the parts equals a whole lot of fun for Smithereens and Beatles fans alike as The Smithereens joyously celebrate an album that has obviously inspired them and pretty much everyone else who loves rock `n' roll. The Smithereens have taken on a daunting task here but it all works remarkably well from infectious beginning to triumphant end.

The CD comes with a fun booklet that includes informative liner notes by Dennis Diken, Beatles experts/historians like Bruce Spizer, Andy Babiuk, Dave Connolly, musician Lenny Kaye and concert promoter Sid Bernstein. The Smithereens "meet the Beatles" and what a delightful get-together it is!

Disc: 1

  1. I WANT TO HOLD YOUR HAND
  2. I SAW HER STANDING THERE
  3. THIS BOY
  4. ITS WON'T BE LONG
  5. ALL I'VE GOT TO DO
  6. ALL MY LOVING
  7. DON'T BOTHER ME
  8. LITTLE CHILD
  9. TILL THERE WAS YOU
  10. HOLD ME TIGHT
  11. I WANNA BE YOUR MAN
  12. NOT A SECOND TIME   B-SIDES THE BEATLES   KOCH Records is happy to announce the release of "B-Sides The Beatles," The Smithereens' highly anticipated follow up to their critically acclaimed 2007 release, "Meet The Smithereens." The album will be released on September 2, 2008. The album includes some very special surprises for dedicated Beatles fanatics. For "B-Sides The Beatles," Andy White, who in 1962 played drums on The Beatles' original version of "P.S. I Love You," reprises his role as surrogate stickman for The Smithereens in 2008. The September 11, 1962 session that produced "Love Me Do" and its B-side "P.S. I Love You" featured session drummer White, with the newly recruited Ringo Starr relegated to tambourine and maracas duties. Upon release in America, the A-side shot to #1, and the B-side made the top-10 as well. "B-Sides The Beatles" also includes fantastic in-depth liner notes by Beatles author/historian Bruce Spizer, as well as "Beatle" Tommy Frangione (Joe Johnson's Beatle Brunch), and the Smithereens' own Dennis Diken.   B-sides to hit singles loom large in the Beatles legend, not just in those they released, but also in helping to form their early stage act and indeed, their approach to making records. And so, this niche of Beatleism is explored on the latest offering from New Jersey's kings of power-pop, the Smithereens.

While most selections on the disc will be familiar, the bands deep love for the Beatles is duly paralleled by their dip into the catalog. The album opens up with three songs featuring what Capitol A&R men initially shunned as "that damn harmonica", "Thank You Girl", "There's A Place" and "I'll Get You", the latter being a standout track on the collection. Another three emanate from the "A Hard Day's Night" soundtrack ("You Can't Do That", "If I Fell" and "I'm Happy Just To Dance With You"). Lesser-known Beatle tracks are also thrown into the set, including "Cry For A Shadow" (the lone Lennon/Harrison composition in the canon, originally recorded during the 1961 Tony Sheridan sessions). Another offbeat inclusion is a song which, while never on a Beatles B-side, is strongly associated with that glorious early Liverpool period, "Some Other Guy", the song the Beatles were filmed performing live at the Cavern, as seen in the Anthology DVD. It's a nice touch, a rip-roaring performance, and an interesting departure from the strict album concept.

The album is rounded out with "I Don't Want To Spoil the Party" boasting a heavier middle-eight than its Beatle counterpart, the Larry Williams rave-up "Slow Down", and another early Cavern-era composition "Ask Me Why". Finally, we get what must surely be the album's centerpiece, "P.S. I Love You", featuring drummer Andy White reprising his role on this track he recorded with the Beatles back at Abbey Road in 1962. If you're keeping score at home, White only ever recorded that song with two bands. The Smithereens are in good company, indeed.

Lest anyone be concerned about the return trip to the Beatle-well following their 2007 tribute to "Meet The Beatles", make no mistake: the Smithereens are as vital in the 21st century as they were in the 20th (not sure? Give a listen to their recent live album, see them in concert or give a listen to some of Pat DiNizio's recent solo work). No apologies are in order in a time where multiple volumes of "American Songbook" albums by rock superstars or interpretations of Joni Mitchell's work are topping the charts, winning Grammys and reviving careers. This is the Smithereens way of embracing this "not-so new" playing field, with a bit of a home field advantage. In that regard, they succeed wildly

A DATE WITH THE SMITHEREENS 45 SPEED 7 INCH SINGLE BOX SET OUT OF PRINT SINCE THE 90'S 

This Box Set has been specially mastered for vinyl using mixes that are different from the official release on compact disc and cassette. Many hours of listening pleasure await you as you unravel the mysterious variations of texture and nuance found between your 45 RPM records and compact disc recordings.

The Smithereens’ brand of hard-edged pop songs is reminiscent of the ‘60s British Invasion, but the mordant sensibility of singer/songwriter Pat DiNizio gives the band a decidedly modern point of view. The band was formed in 1980. In 1985 they were signed to Enigma Records touring extensively.

The Smithereens signed with RCA for A DATE WITH THE SMITHEREENS. The album re-united the band with producer Don Dixon (who produced the group’s first two albums) and featured Lou Reed’s guitar playing on two songs.

Each 45 RPM Record has a picture sleeve of each member of the band with the words of each song. Group is made up of Jim Bajak - Lead Guitar, Dennis Diken - Drums, Pat DiNizio - Vocals, and Mike Mesaros - Bass Guitar.

The album is very dark and moody - this album came right out when Seattle Grunge exploded and you can hear how it effected the band in the production and moody writing. I think the time they spent with the Record Cemetary of America was just a BAD time for the group or Pat was listening to too many Black Sabbath LP's, who knows?

Some songs just don't have killer hooks, and are played at too slow a tempo and just plod on, but its not a total waste of plastic by far. The best songs on is the upbeat (but downcast) "Love Is Gone" written by Jim Babjak, and Pat's "Miles From Nowhere", and the heavy "Everything I Have Is Blue".

Tracks include: 

DISC (1)War For My Mind - Everything I Have Is Blue - Miles From Nowhere - Sleep The Night Away

(2 ) Afternoon Tea - Long Way Back Again - Love Is Gone - Point Of No Return

(3) Gotti - Sick of Seattle - Can’t Go Home Anymore - Life Is So Beautiful

(4) I’m Sexy - Keep Me Running - Everything I Have Is Blue (4 track Home Demo)

BONUS CD - SMITHEREENS ROCK TOMMY CD

Forty years ago this May, the Who changed the face of rock music forever with their release of the classic rock opera TOMMY-music that inspired and energized generations of musicians and fans. Among those are The Smithereens, power-pop standard bearers themselves who continue to carry the torch for great melodies, close harmonies, and driving beats. on the heels of their acclaimed reworkings of the early Beatles (MEET The Smithereens, THE BEATLES: THE B-SIDES), The Smithereens now unleash their fresh and brash interpretive style on Pete Townshends immortal epic, offering a new way of hearing these beloved songs that isn't the slavish imitation of a cover band, but casts a new light of interpretation from a band that has made its own impact on the canon of high-energy rock and roll.   In the 40 years since The Who's "Tommy" album was first released, it has been turned into an overblown London Symphony Orchestra production with "guest stars", a motion picture, a Broadway musical and even a ballet. Now The Smithereens have taken what had once become bloated and have stripped it back down to its essence with their no frills "tear it up" version of "Tommy". The Who's producer Kit Lambert originally wanted to make this "rock opera" truly operatic by bringing in an orchestra for the album's recording. However, the Who resisted that idea because they wanted to recreate the album live in concert as a four piece unit. The Smithereens have remained true to that vision and, in fact, their stated intention was to tailor their studio rendition of "Tommy" more like the Who's raucous "Live at Leeds" performance rather than the album version. Judging from their popular energized versions of The Who's "The Seeker" and "Behind Blue Eyes" that they have frequently performed live in concert, The Smithereens have ably demonstrated that they have the talent (and, perhaps more importantly, the no holds barred rock attitude) to render the fury of the Who's music through their own power pop prism. (And all of this musical prowess and reinvigoration in the studio bodes well for a forthcoming Smithereens album of original new songs scheduled for later this year.)

Just listen to this album's appropriately titled "Sparks" instrumental with lead guitarist Jim Babjak's combustible power chords and Dennis Diken's rumbling drums and lightning fast drum fills. They take us on a guided tour through the Who's musical landscape with a quick detour through The Smithereens' rocky terrain. Rhythm guitarist and lead singer Pat DiNizio's distinctive powerhouse vocals enliven and reboot songs like "Acid Queen" while imbuing the subtler numbers like "I'm A Boy" with admirable finesse. "The Thrilla" emulates sensurround with nimble bass lines during such lofty numbers as "Overture". Kurt (The Grip Weeds) Reil adeptly co-produces/reproduces the album with occasional musical contributions of his own (i.e. mellotron, organ and backing vocals). The CD is illustrated fittingly with front and back covers by William Stout (who also designed the iconic "Tales From the Who" album cover) and contains informative liner notes written by Jim Babjak and Bill Crowley.

Other highlights from this album include "I'm Free" which rocks much harder than the Who's more sedate studio version. Here The Smithereens treat it like the rock anthem it always should have been. "Amazing Journey", "Christmas" and "Go To The Mirror" (all featuring Jim on lead vocals) are performed as if the Smithereens were The Who's distant power punk cousins. "Eyesight To The Blind" finds Pat mining the blues fluently on vocals with occasional backup from a celestial choir. When The Smithereens play the soaring "Sensation" (with Dennis on lead vocals), it makes mincemeat out of the Who's rather anemic and horn-drenched 1989 "Tommy Live" tour version of the song (which wasn't even performed live during the "Tommy" portions of their early Leeds and Isle of Wight concerts). "Pinball Wizard" features Dennis singing up front with Pat on tandem vocals (including what may or may not be an homage to Shocking Blue's "Venus" for a few strumming acoustic bars near the very beginning). By the time they close the album by adding some raw punk-tinged guitar chords to "We're Not Gonna Take It", The Smithereens have impressively marked their territory. They've accomplished the nearly impossible task of delivering a 40 year-old Tommy and making him seem newly reborn.

 

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