Combat Rock 40th anniversary reissue coming soon?

[Marky Dread]

I agree with your sentiment and all the other sentiments mentioned in this thread.

This could and should've been so much better. Remember when VFM actually meant not ripping off your fans and what made the band so important and different in the first place.
This release is an Ill thought out one definitely. I like Mick's initial idea of "The People's Hall" hoping we might get a selection of unheard demos or something similar. The Bonds track? as mentioned is a pathetic waste of space. The news reports that have been included on many bootlegs are way more interesting. Just sounds like people moaning about Ticketron tickets.

Including the Mikey track is plain bizarre regardless of why it was included. And as for the blank side of vinyl...

Why not just include a blank CD so fans can burn the Rat Patrol tracks to it.

The main album is as great as it ever was.

The Clash were a people's band so why not let "the people" curate the next release.

I genuinely think the band should hire you as their archival coordinator and producer, Marky. There's no better man for the job.

Something I would happily dedicate time to freely.

As long as whoever does it does with a keen eye for detail and with a passion.

Be careful of what you wish for, you'll have to endure at least one fan who won't shut up about releasing Lewisham.

Way more than one mate. Lewisham sitting there doing nothing is nuts. We all know the tape exists. A nice box set of the best live shows like The Jam did would be very cool.

[drowninghere]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

Two thoughts/questions. Pretty pointless but what the hell.

1. Is it Paul? Honestly, there is no logical reason why Mick or Topper could have any issue with releasing Rat Patrol or some assortment of the songs thereon. In Westway, while Joe expressed regret, Paul was relatively harsh, "wouldn't change a thing". And possibly Mick just doesn't want to rock the boat if Paul feels this way. As I said, pretty pointless speculation and who cares at the end of the day, but I just don't see any other logical alternative than this.

2. On Sound System, we essentially got the Rat Patrol versions of Sean Flynn, Ghetto Defendant and Straight to Hell, plus Kill Time and Beautiful People (so 5 of the Rat Patrol songs, even though none had the Rat Patrol name associated with them on the labelling). We've had the B-sides for a long time (Cool Confusion, First Night, Long Time) - forgive me if not all of these were intended for the album - so we are up to pretty much 1/2 of Rat Patrol being officially released in pristine quality at this point? So my question would be, what changed between 2013 (Sound System) and now? In other words, even if we accept that there is a moderate possibility of a valid objection to the release of Rat Patrol as Rat Patrol, how could there be an valid objection to the release of a handful of the unreleased Rat Patrol versions of these songs as part of the People's Hall? In other words, why not 'Car Jamming (Unedited version, Previously Unreleased)', akin to how Ghetto Defendant was described on Sound System? How could that be acceptable for Sound System but not for this release? Hell, if we had got the Rat Patrol versions of Car Jamming, RAD, Atom Tan and Innoculated City on The People's Hall, I legitimately think people would be over the moon. And then we could wait another 10 years for the rest of it :)

[sonnyburnit]

It really does break my heart to see grownups crying over The Clash.

[topperville]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

I totally agree with everything you’ve said! Sadly…

[Flex]

It really does break my heart to see grownups crying over The Clash.

I'd politely suggest that a Clash forum is a pretty reasonable venue to discuss new Clash releases and what we think about them.

[Marky Dread]

It really does break my heart to see grownups crying over The Clash.

Haha! Don't cry for me Sandinista the truth is I never left you.

[Kory]

It really does break my heart to see grownups crying over The Clash.

I hope your broken heart doesn't drive you to tears, too.

edit: wait, is this the guy that wanted one of us to read Juliet, Naked?

[IkarisOne]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

You all know my feelings about CR/RP so bear that in mind when I say this: I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form. It just sounds like rough mixes to me and probably would to most other folks. Just the way it is.

Otherwise this is just typical exercise corporate IP milking. At this point they're just trying to squeeze a few more bucks out of the collectors and diehards, which accounts for the muted response this thing is getting.

[Marky Dread]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

You all know my feelings about CR/RP so bear that in mind when I say this: I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form. It just sounds like rough mixes to me and probably would to most other folks. Just the way it is.

Otherwise this is just typical exercise corporate IP milking. At this point they're just trying to squeeze a few more bucks out of the collectors and diehards, which accounts for the muted response this thing is getting.

Yet they released some of the tracks on Sound System. So that can't be true.

[Flex]

You all know my feelings about CR/RP so bear that in mind when I say this: I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form. It just sounds like rough mixes to me and probably would to most other folks. Just the way it is.

Otherwise this is just typical exercise corporate IP milking. At this point they're just trying to squeeze a few more bucks out of the collectors and diehards, which accounts for the muted response this thing is getting.

Yeah, I think this is a sympathetic and plausible read. Even if one thinks Mick's mix would be superior, it's a really tall order to live up to the mystique of being a lost album that's finally been released. Which albums have survived with their reputations as high as before the exited? That said, I gotta think we'd be better off losing the stray tracks that do get included then (and everything else that's been released) and I either dig for more alternate takes or include some previously unreleased live stuff. Again, the "don't release stuff that Joe didn't approve" barrier has been broken for at least random tracks so why not avoid the Rat Patrol issue altogether and still release some other new stuff? And, like, skip putting Sandinista era cuts on a combat rock album. Just weird shit.


Allmusic's review gets it out about right, other than the understandable but incorrect assumption that it's the record label and not the band keeping new stuff off the reissue:

The 2022 reissue of Combat Rock misses a golden opportunity to finally unearth the full Rat Patrol for Fort Bragg mix and give fans a chance to decide for themselves which was better. The few bits that have officially slipped through the cracks have been fascinating; a handful of them ended up on Black Market Clash and the Sound System box set and are included here also. A long and trippy version of "Sean Flynn" shows the meandering direction Jones wanted to take the songs; other tracks would have diluted the punch of the album, but might have improved it musically. The truly weird "Long Time Jerk" which sounds like a klezmer band playing punkabilly, the doomy "First Night Back in London" and the bonkers Latin synth romp "The Fulham Connection" sounds like nothing else happening in 1982. These glimpses only serve to make the whole mix not being here more painful. So does the inclusion of throwaway tracks like "Outside Bonds", which is just a few minutes of recordings of people in line outside a Clash gig or the generic "He Who Dares Or Is Tired," where they sound like a wedding band rehearsing some Motown. "Midnight to Stevens" is another track that has been featured elsewhere and it fully deserves it's outtake status, sounding like a Springsteen-lite snoozer. Better are the versions of "Radio Clash" with different lyrics and a blazing alternate take of "Know Your Rights." It's hard to figure why Jones didn't fight like hell to get his mix reinstated for the reissue, and if he did, it's equally hard to imagine why he lost. As it stands, this is a half-baked archival relase that poses more questions thn it answers and won't do much to make fans of the band, and this era in particular, very happy.

[IkarisOne]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

You all know my feelings about CR/RP so bear that in mind when I say this: I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form. It just sounds like rough mixes to me and probably would to most other folks. Just the way it is.

Otherwise this is just typical exercise corporate IP milking. At this point they're just trying to squeeze a few more bucks out of the collectors and diehards, which accounts for the muted response this thing is getting.

Yet they released some of the tracks on Sound System. So that can't be true.

I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form.

[Marky Dread]

Yeah, if the remaining principles decided that they couldn't release this incredible archival (i.e. Rat Patrol and any other mixes or alt takes lying around) product because of the spat from decades ago with a deceased band member, it's seems downright shameful they decided to ignore their own actual rule of "don't release product that Joe didn't approve" to put out this thing which includes a couple tracks Joe didn't agree to release (breaking the rules!!!!) and otherwise comes off as an extremely cynical cash grab.

We keep hearing the record label kept wanting to do this and that and the other thing and the band put its foot down. Well, stop threatening us with a good time. If all the band wants to do is milk the same material over and over and over again and block the label from putting out actual new stuff, they should at least own up to wanting another payday. That's fine, I liked payday too. But recognize how much the band has managed to tarnish it's own brand over the years. There was a window of time when the band was poised to reclaim the title of The Only Band That Matters and they just bumblefucked their way out of their legacy because, I guess, old wounds never heal or something.

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

I have tons of Bob Dylan boots downloaded. I still love every official upgrade I get because it is always, always, always better than the ropy download it's replacing. I absolutely refuse to believe that wouldn't be the case with the clash.

This isn't betrayal. The surviving band members can do whatever the fuck they want and they don't owe us shit. But whenever we hear about how they're trying to protect the fans and their legacy it's absolute laugh out loud bullshit. Just be honest that you still hold a 40 year old grudge but still want an easy payday. That's a very human place to be in. It's fine.

Faux Addendum: Self-edited a few of my even more acerbic comments.

You all know my feelings about CR/RP so bear that in mind when I say this: I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form. It just sounds like rough mixes to me and probably would to most other folks. Just the way it is.

Otherwise this is just typical exercise corporate IP milking. At this point they're just trying to squeeze a few more bucks out of the collectors and diehards, which accounts for the muted response this thing is getting.

Yet they released some of the tracks on Sound System. So that can't be true.

I think Mick prefers Rat Patrol to retain its legend as a lost classic, which it most certainly wouldn't if normies and critics could hear it in its complete form.

Ah yes I missed that bit.

[IkarisOne]

Allmusic's review gets it out about right, other than the understandable but incorrect assumption that it's the record label and not the band keeping new stuff off the reissue:

The 2022 reissue of Combat Rock misses a golden opportunity to finally unearth the full Rat Patrol for Fort Bragg mix and give fans a chance to decide for themselves which was better. The few bits that have officially slipped through the cracks have been fascinating; a handful of them ended up on Black Market Clash and the Sound System box set and are included here also. A long and trippy version of "Sean Flynn" shows the meandering direction Jones wanted to take the songs; other tracks would have diluted the punch of the album, but might have improved it musically. The truly weird "Long Time Jerk" which sounds like a klezmer band playing punkabilly, the doomy "First Night Back in London" and the bonkers Latin synth romp "The Fulham Connection" sounds like nothing else happening in 1982. These glimpses only serve to make the whole mix not being here more painful. So does the inclusion of throwaway tracks like "Outside Bonds", which is just a few minutes of recordings of people in line outside a Clash gig or the generic "He Who Dares Or Is Tired," where they sound like a wedding band rehearsing some Motown. "Midnight to Stevens" is another track that has been featured elsewhere and it fully deserves it's outtake status, sounding like a Springsteen-lite snoozer. Better are the versions of "Radio Clash" with different lyrics and a blazing alternate take of "Know Your Rights." It's hard to figure why Jones didn't fight like hell to get his mix reinstated for the reissue, and if he did, it's equally hard to imagine why he lost. As it stands, this is a half-baked archival relase that poses more questions thn it answers and won't do much to make fans of the band, and this era in particular, very happy.

The other issue is that Sony has worked hard to brand The Clash as a punk rock band, hence the live albums and the live material on SS following all the weird b-sides and outtakes. Whatever your feelings about the work, the fact is all this RP/CR material complicates that narrative. Joe frontloaded all the more traditional Clash stuff on the first side and after that it's off into the hinterlands of weirdness for the next 20 tracks. It's almost like outsider art Clash, like Daniel Johnston or R.Stevie Moore doing their takes on Sandinista.

[TeddyB Not Logged In]

He Who Dares and Know Your Rights were newly mixed by Declan Gaffney, who worked with Mick on the recent Subway Sect album.

I really don’t know what the band politics were around this release. Seems like it may be worthwhile to have if you wanted a CD of Combat Rock, and CD2 gives you a version of each of the other “finished” songs that were recorded as The Clash during that time period, except for Cool Confusion (why I don’t know). It doesn’t include any alternate mixes from Rat Patrol, save for Sean Flynn, which is merely extended. Maybe that’s Glyn’s mix anyway, I don’t know. I think the Futura track is included early in the running order to show the influence of the NYC graffiti hip hop scene, and the plane also added to the top of First Night Back in London as part of the “story”. I don’t know why Mikey’s track is on here, except possibly also as some sort of show of his influence.

Of course most of those who would buy this probably do have Sound System already. I can only guess that this gives the record company a reason to promote Combat Rock to streaming services as opposed to a straight reissue.

When Mick finished work on this, he said again what a great job he thinks Glyn did mixing the album.

[Jimmy Jazz]

The logic, which I really truly appreciated hearing about from the band way back when, from decades ago that it's great that all these live recordings and boots are out there so the label doesn't need to just dump any old crap out there doesn't really hold water anymore. Anyone with access to real source tapes can put out a substantially better-sounding release than what we fans have (not counting the stuff kept under lock and key by the elite collectors in our midst). Labels have pivoted to hardcore-fan-friendly (if wallet busting) releases of booted and unreleased material. Maybe I'd have groused as a Super Duper Deluxe box of combat rock costing a few hundred dollars but I'd have just not fuckin' bought it and at least this shit would be out in the world for people to enjoy. And we all follow enough other stuff to know that the bajillion dollar package also has reasonable entries with most/all of the actual music available at more reasonable price points. The "oh the label wanted to to an expensive box" thing just doesn't hold water as something to block to protect fans from getting scammed.

Another flaw in their “the boots are already out there” logic is streaming. To the majority of people if something is not on Spotify, Apple Music etc, it might as well not exist. So they could be costing themselves a younger audience with the live stuff by leaving it to boots.