The subscription service, which the award-winning, Grammy and Golden Globe nominated songwriter and recording artist recently launched via a successful Kickstarter funding campaign, will provide fans with a steady stream of new Marshall Crenshaw music via a series of exclusive three-song 10-inch, 45 RPM vinyl EPs on Addie-Ville Records, six of which the artist plans to release over a two-year period.
In addition to the vinyl discs, subscribers will also receive a download card for digital versions of the EP tracks. These recordings are available from Crenshaw’s web site.
Loyal Marshall Crenshaw fans who have invested in the project on Kickstarter just received their early copy of the EP I Don’t See You Laughing Now.
Each EP consists entirely of newly recorded, never-before-released material, encompassing a new original Crenshaw composition, a classic cover tune, and a new reworking of a time-honored favorite.
“I really do think that vinyl sounds best, and that playing a vinyl record is still the optimum listening experience,” Crenshaw asserts. “And with the sound quality that you get at 45 rpm, I think that these things are going to deliver the goods, sonically.”
The first subscription EP’s A-side is the brand-new Crenshaw number “I Don’t See You Laughing Now,” recorded with longtime cohorts Andy York (John Mellencamp, Ian Hunter), and Graham Maby (Joe Jackson, They Might Be Giants).
Crenshaw says, "The song is mostly based on a particular disturbing documentary that I saw a few years ago. It's pretty much a rant directed at a composite of villains; at least they're villains to me." The record’s double B-side features a memorable new reading of The Move’s 1971 post-apocalyptic anthem “No Time,” recorded with veteran New Jersey rocker and frequent Crenshaw collaborator Glen Burtnick; and a new version of “There She Goes Again,” whose original version appeared on Crenshaw’s eponymous 1982 debut album, recorded live with alt-country icons the Bottle Rockets.
The artist - best known for the 1982 hits “Someday, Someway” and “Cynical Girl” - is excited that his new subscription model allows him to embrace his love for singles, while allowing him to make music on his own terms, free of record-company politics and the emotional baggage that routinely accompanies the making of full-length albums.
“I’ve always put a great deal of care into the albums I’ve made,” Crenshaw states. “But as a listener, I’ve always been a singles guy and an individual-tracks guy. I’m looking forward to creating a steady output of music in small batches, rather than being stuck in a cave for months and stockpiling a whole bunch of music and dumping it out all at once. Now, when I finish something, I get to put it out, instead of having to wait until I’ve got 12 more.”
Over the course of a career that’s spanned three decades, 13 albums and hundreds of songs, Marshall Crenshaw’s musical output has maintained a consistent fidelity to the qualities of melody, craftsmanship and passion, and his efforts have been rewarded with the devotion of a broad and remarkably loyal fan base.
Although he has hosted his own radio show, The Bottomless Pit, on New York’s WFUV, Saturday nights at 10 p.m. ET, writing songs and making records remain at the center of Crenshaw’s creative life.
“I still think that recorded music is a great art form, I still love it and believe in it, and I’m still always striving for excellence."
marshallcrenshaw.com
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