INTERVENTION LP IR-008: B.A.D - This Is Big Audio Dynamite - 2016 USA NM
C$
60
$
43
C$ 60
Sold For
Apr 6, 2021
Sold Date
Jan 27, 2019
Start Date
1
Number Of Bids
Canada
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eBay
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Description
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Background -
Out of Print!180g Dead Quiet Vinyl Pressed at RTI
Mastered by Ryan Smith at Sterling Sound
100% Analog Mastering from Real Analog Tapes
Exquisitely Restored Cover Art printed by Stoughton
Original-release gate-fold jacket
In 1985 Joe Strummer failed at stripping The Clash down and taking it back in time with Cut the Crap while former band mate Mick Jones leaped forward with the visionary, genre-crossing Big Audio Dynamite. BAD’s debut This is Big Audio Dynamite is a multi-layered and sample-driven whirlwind of musical influences, including house and hip-hop, rap and reggae, electro-pop and more, with movie dialog and sound effects thrown in just for fun!
While the music has to be called out as experimental for its day, Jones’ gift for rhythm, melody and catchy hooks makes it an eminently listenable and utterly cool affair that on each listen will have you humming and singing to yourself for days.
The influence this album and band would have on rock and rap in the following decade can’t be understated. It’s impossible to listen to 80s and 90s classics like The Beastie Boys’ Paul’s Boutique or Beck’s Odelay without hearing echoes of the beats and samples from This Is Big Audio Dynamite all the way back in 1985.
Mastering Notes:
For This is Big Audio Dynamite, Sony scoured the US and UK vaults and secured the best analog tape available, a beautiful 1/4” 15-ips “cutting copy” from 1985. This tape was either the only remaining or the best usable analog tape, it would be tempting to call it the "master tape," as it would be advantageous to IR to market it as "from the master tapes." However, as an avid record collector I always want to know exactly what the source is for every LP I buy and am continually frustrated that so many brands are so coy about this (or outright misleading). The tape box pictured here has a box checked "copy" and I'm telling it like it is. Most important, these tapes sound great, and are delivering the definitive version of this great LP! Ryan K. Smith's cut for Intervention has much greater bass punch, a much more expansive sound stage and greater inner detail that reveals all the nuances in this utterly unique and densely-layered production. The dynamics are greatly improved as well adding immensely to the fun and drama of the movie samples and sound effects.
(Re)Discover Series:
You know those songs that come up on the radio when you’re driving and you crank up the volume to 11 and sing your lungs out? That’s the spirit of what Intervention’s (Re)Discover Series is all about! Taking these FM classics and presenting them in “like you’ve never heard it before” sound quality so you can get that same blast of energy and excitement on your hi-fi at home. The hallmark of this series will be 100% analog mastering from real analog tapes. Combining superior master sources with the truly full-range mastering chain at Cohearent Audio and RTI’s dead quiet vinyl pressing means that you’ll hear these FM staples with power, majesty and musical detail like it’s the first time. (Re)Discover these sonic treasures with us!
"I compared the new pressing with the 1990 CD edition. The CD, less aggressively bright than the earliest pop CDs tended to be, is quite listenable overall, but remarkably flat compared to the new vinyl -- the music seems to stop at the speakers. Smith has revealed the width and depth of the original music, which brings the many elements of the recording more out in the open....Throughout this remastering, percussion pops from the speakers with more force, bass reaches out to thump harder, keyboards have more texture and life, and the music widens and deepens to become more envelopingly three-dimensional." - Joseph Taylor, SoundStage! Access
"First things first, when you listen to This Is Big Audio "Dynamite, you cannot mistake the era in which it was created. The electronic sound and vocal effects of the album just epitomize the 1980s. But there is more going on here as the record also looks toward the future with its use of sampling and hip-hop. While the sampling is mostly spoken lines from movies, most prominent in "Medicine Show," it does hint at a practice that is ubiquitous in today's music. The rap/hip-hop influences, especially on the closing track, "Bad," seem prescient for a time when the genre was just beginning to meld with rock and pop. The album is also not punk, either. The instrumentation and sampling are far too complex for the usual rawness and quick hitting of the punk movement. Some of the attitude strains from Jones' rebellious earlier days shine though however, like in the anti-corporate "Sony" or allusions to AIDS in "Stone Thames."...As This Is Big Audio Dynamite has been reissued before, including a 2-disc Legacy Edition from Sony's Legacy Recordings in 2010, the focus on this new reissue is on the sound quality and packaging. The album has been remastered by Ryan Smith at Sterling Sound from a 1/4" 15-ips "cutting copy" from 1985. This is the same tape from which the Legacy Edition was sourced, and Intervention truthfully discloses in the mastering information on their website that this is not the "master" tape, as it is a copy. However, it is the only remaining or best available analog tape, and one listen to this quiet, clean, and pristine vinyl reissue will make it clear that it sounds wonderful." - Randy Fairman
Elbowed out of the Clash, Mick Jones responded forcefully with Big Audio Dynamite, a modernist audio-terrorist outfit whose October 1985 debut, This Is Big Audio Dynamite, seemed all the more futuristic when compared to Joe Strummer's reductionist retro rejiggering of the Clash on Cut the Crap.
After Mick Jones was fired from the Clash in 1983, he formed Big Audio Dynamite (B.A.D.) one year later to continue the more experimental funk elements of the Clash's Combat Rock. The group's original incarnation included Jones, video artist and Clash associate Don Letts (effects and vocals), Greg Roberts (drums), Dan Donovan (keyboards), and Leo "E-Zee Kill" Williams (bass). Adding samplers, dance tracks, and found sounds to Jones' concise pop songwriting, B.A.D. debuted on record with the single "The Bottom Line" in September 1985 and the album This Is Big Audio Dynamite later that year. "E=MC2" and "Medicine Show" became sizeable hits in England, and reached the dance charts in America.
When it arrived in late 1986, Big Audio Dynamite's second album, No. 10, Upping St., boasted co-production and co-writing from Joe Strummer, Jones' former bandmate in the Clash. It was a much better fusion of contemporary production techniques with Jones' songwriting, and the two biggest singles -- "C'mon Every Beatbox" and "V. Thirteen" -- performed well both on the British pop charts and American dance charts. After a two-year break, the band returned with a less free-form work, Tighten Up, Vol. 88, but righted the ship with 1989's Megatop Phoenix, their biggest performer in America (thanks to the singles "Contact" and "James Brown”).
After Megatop Phoenix, the band split apart at the end of 1989. Jones quickly added Gary Stonadge (bass/vocals), Chris Kavanagh (drums/vocals), and Nick Hawkins (guitar/vocals) to form Big Audio Dynamite II, while Letts, Williams, and Roberts formed Screaming Target and Donovan joined the Sisters of Mercy. Releasing The Globe, the first full-length album with the new lineup, in 1991, B.A.D. II experienced their greatest success yet with the American Top 40 hit "Rush." In 1994, Jones truncated the band's name to Big Audio and released Higher Power.
After Higher Power, Big Audio parted ways with Epic, signing with Radioactive in early 1995 and releasing F-Punk. The single "I Turned Out a Punk" became a college radio hit, even when it was initially released anonymously (granted, Jones' voice was immediately recognizable). That conglomeration also split shortly afterward, Jones later appearing in the production chair of notable records including the Libertines' Up the Bracket. - Stephen Thomas Erlewine
Elbowed out of the Clash, Mick Jones responded forcefully with Big Audio Dynamite, a modernist audio-terrorist outfit whose 1985 debut, This Is Big Audio Dynamite, seemed all the more futuristic when compared to Joe Strummer’s reductionist retro rejiggering of the Clash on Cut the Crap. Strummer may have been intent on shedding every experimental element of the Clash’s prime, but Jones, in collaboration with longtime friend filmmaker Don Letts, picked up where Sandinista! left off, anchoring BAD in dance and rap, building the group’s debut on layers of samples and drum machines. As is often the case, what was once forward-looking seems inextricably tied to its time in retrospect and the clanking electro rhythms, Sergio Leone samples, chicken-scratch guitars, bleating synths, and six-minute songs of This Is Big Audio Dynamite evoke 1985 in a way few other records do. Nevertheless, BAD’s boldness remains impressive, even visionary, pointing toward the cut-n-paste masterpieces of the late ‘80s and early ‘90s, and since Jones did not abandon his innate gift for hooks -- if anything, he found ways to create rhythmic hooks as well as melodic ones -- it’s quite accessible for an album that is, at its core, avant-rock. [Legacy’s 2010 double-disc expansion of This Is Big Audio Dynamite remasters the original eight-track LP and adds a second 12-track CD. Befitting BAD’s futuristic dance bent, almost all of these are 12" remixes of the album’s singles -- “Medicine Show,” “E=MC2,” and “The Bottom Line” -- including no less than four previously unreleased mixes -- and there’s also the outtake “Electric Vandal,” plus the B-sides “Albert Einstein Meets the Human Beatbox” and “This is Big Audio Dynamite,” with every last one of these 12 songs extending the modernist sampledelia of the album proper.] - Stephen Thomas Erlewine
When guitarist Mick Jones was asked to leave the Clash in 1983, he formed Top Risk Action Company (T.R.A.C.), a band that soon folded. He then cofounded Big Audio Dynamite with filmmaker and musician Don Letts, who had directed a number of music videos for the Clash. The group’s debut album, This Is Big Audio Dynamite (1985), expanded on the sonic experimentation of the Clash’s Sandinista! (1980) and Combat Rock (1982), and continued Jones’s flirtations with disco, house, electronic pop, and other forms of music beyond punk rock.
Intervention Records has now reissued This Is Big Audio Dynamite on 180gm vinyl, pressed by RTI. Ryan K. Smith of Sterling Sound mastered the new edition, using what Intervention says is “the best analog tape currently available, a beautiful 1/4" 15-ips ‘cutting copy’ from 1985. This tape was used for the expanded Sony Legacy 2010 CD reissue, and as it’s either the only remaining or the best usable analog tape . . .
I compared the new pressing with the 1990 CD edition. The CD, less aggressively bright than the earliest pop CDs tended to be, is quite listenable overall, but remarkably flat compared to the new vinyl -- the music seems to stop at the speakers. Smith has revealed the width and depth of the original music, which brings the many elements of the recording more out in the open.
In “Medicine Show,” it’s easier to hear, and place on the soundstage, the electronic and live drums and keyboards, and Jones’s guitar tone is more fully fleshed out. Subtle keyboard accents come through the layered sound with more clarity, and the samples from various Sergio Leone films and The Treasure of the Sierra Madre, which seem to flatten against the wall on CD, now extend into the room. And the bottom end really blooms -- low-end drums, keyboard lines, and bass have much more impact and clarity.
The ear-grabbing keyboard riff that runs through “Sony” is more forceful on the new LP, with a slightly metallic tone that makes it even more compelling. The new pressing reveals even more percussion, which reaches farther into the room, to spread out and snap harder. The vocal samples from Nicolas Roeg films that Letts integrates into “E=MC2” also jump farther out of the speakers to pull me in, and the keyboard washes sound fuller and more complex.
I’m not sure I’d ever taken particular note of the delay Jones uses on his guitar on “A Party” until I’d heard this pressing, in which it’s revealed as an important part of the track’s overall sound. Throughout this remastering, percussion pops from the speakers with more force, bass reaches out to thump harder, keyboards have more texture and life, and the music widens and deepens to become more envelopingly three-dimensional.
I hadn’t heard This Is Big Audio Dynamite in a while. Although its themes of corporatism and economic dislocation are still current, I’d assumed that the music is time bound -- very 1985. The big surprise, even when listening to the CD, is how fresh and startling it still is. Mick Jones could have easily formed another band like the Clash, but the sonic experiments he and Letts ushered in soon showed up on rock records by the Beastie Boys and Beck.
I’m glad Intervention is forthcoming about the source of the tape they used, but with results this good, the listener needn’t be concerned. Ryan K. Smith’s remastering brings to light so much detail from This Is Big Audio Dynamite that it’s as if we can now hear the album for the first time, and makes it clearer than ever how visionary this band was.. . . Joseph Taylor
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INTERVENTION Records LP - Near MINT
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Record made in the USA
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Pressing is in STEREO
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Record Speed: 33 rpm
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Record Made issued in: 2016 (out of print)
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Record Catalog Number: IR-008
Featured on this item:
Big Audio Dynamite (B.A.D.)
Title / Music on this Audiophile LP -
This is Big Audio Dynamite
Track Listings -
A1. Medicine Show - 6:33A2. Sony - 4:30
A3. E=MC² - 5:55
A4. The Bottom Line - 4:39
B1. A Party - 6:41
B2. Sudden Impact! - 5:04
B3. Stone Thames - 4:06
B4. BAD - 5:45
Performers / Credits / Other Information -
• Mick Jones – lead and background vocals; guitars (The Clash)
• Don Letts – lead and background vocals; sound effects
• Dan Donovan – keyboards
• Leo Williams – bass; backing vocals
• Greg Roberts – drums; drum machine; backing vocals
• Pressed By – Record Technology Incorporated
• Lacquer Cut At – Sterling Sound
• Lacquer Cut By – Ryan Smith
Cut from the original analog master tapes.
CONDITION Details:
The GATE-FOLD LP jacket is in near mint minus condition! The jacket has NO seam splits. The corners and seams are solid, with some very minor shelf wear along the seams and corners. The colors on the jacket are clean and sharp - like a new jacket virtually!
The LP is in near mint minus condition! We found that the vinyl looked superb on this title. There are no significant marks and the LP retains much of the original gloss and sheen - there may be some very light spider marks on the vinyl, caused by sliding the LP in and out of the inner sleeve. There may be some dust and the odd finger print on the vinyl. There are NO serious spindle marks on the record labels. A finer copy would be difficult to find!
A Short Note About LP GRADING - - Mint = Only used for sealed items.
- Near Mint = Virtually flawless in every way.
- Near Mint Minus = Item has some minor imperfections, some audible.
- Excellent = Item obviously played and enjoyed with some noise.
- Very Good Plus = Many more imperfections which are noticeable and obtrusive.
For best results, always properly clean your LPs before playing them.
The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Don't let this rarity slip by!!!
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