petgrief

Done

I did the artwork for this. Getting one of these initial pressings with the die cuts will be worth it, although I may be a little biased. All subsequent pressings will just be standard jackets with printed inner sleeves.

I did the artwork for this. Getting one of these initial pressings with the die cuts will be worth it, although I may be a little biased. All subsequent pressings will just be standard jackets with printed inner sleeves.

Yeah, this is happening! I've been very excited about it, but couldn't say anything while it was in the works. All three hit the ADA new release catalog today.
 
AOTY is 2LP because it was crammed onto 1LP before, and the sound quality suffered. So it's the regular album, but split onto 2LPs. As far as demos and acoustic versions... stay tuned for the official announcement.
 
Novena wasn't ever on vinyl that I know of, but that was a Better Looking release, so there could have been something like what was described above and I just never heard about it. "First time on vinyl" is everything I've heard about Novena since we started discussing these reissues.
 
These are all 180gm vinyl.

We're really excited that this is finally happening. I've personally been looking at the layout of this--and what was going into it--for the last year.
 
I'm biased of course, but I think the $23 price is reasonable. It's a double 180-gram LP. The jacket is a tip-on gatefold, and the 15 page booklet is glued in. Similar to how the deluxe Mama, I'm Swollen was set up. The titles on front and back are in clear spot gloss UV. I'm looking at the print sample here and I think it's really cool.
 
We talked about colored vinyl, but ultimately the band wanted to go with black to match the new black cover art. The reason behind changing the cover art was to put the focus on the organ keys, the iconic part of the artwork. Just let that stand alone. I think it was a good choice.
 
Again, biased, but I think the extras in the booklet are really interesting. There's full size sketches that Tim did for the original cover design (multiple organ drawings), a large scan of an original mastering tape case with funny notes from Mike Mogis, large scans of three pages of Tim's original lyrics notebook for the album, a bunch of photos that haven't ever been shared before, full lyrics for the album and additional tracks, and the other stuff mentioned in the press release. Oh, there's a drawing of Tim's of a "bear and cave" that Matt Maginn told me is basically a hairy dick and a vagina. The cave is noted as "burned and dry" so that doesn't sound very appealing.
 
The LP labels list the additional tracks on LP2 as "The Ugly Organ Extended," so we were able to get that dick joke in there.
 
If you're interested, there's a limited silkscreen poster of the new cover art, and a limited shirt from the UO era up on our online store (saddle-creek.com). Thanks for allowing me to shamelessly plug.

Can't say just yet

We're really excited that this is finally happening. I've personally been looking at the layout of this--and what was going into it--for the last year.
 
I'm biased of course, but I think the $23 price is reasonable. It's a double 180-gram LP. The jacket is a tip-on gatefold, and the 15 page booklet is glued in. Similar to how the deluxe Mama, I'm Swollen was set up. The titles on front and back are in clear spot gloss UV. I'm looking at the print sample here and I think it's really cool.
 
We talked about colored vinyl, but ultimately the band wanted to go with black to match the new black cover art. The reason behind changing the cover art was to put the focus on the organ keys, the iconic part of the artwork. Just let that stand alone. I think it was a good choice.
 
Again, biased, but I think the extras in the booklet are really interesting. There's full size sketches that Tim did for the original cover design (multiple organ drawings), a large scan of an original mastering tape case with funny notes from Mike Mogis, large scans of three pages of Tim's original lyrics notebook for the album, a bunch of photos that haven't ever been shared before, full lyrics for the album and additional tracks, and the other stuff mentioned in the press release. Oh, there's a drawing of Tim's of a "bear and cave" that Matt Maginn told me is basically a hairy dick and a vagina. The cave is noted as "burned and dry" so that doesn't sound very appealing.
 
The LP labels list the additional tracks on LP2 as "The Ugly Organ Extended," so we were able to get that dick joke in there.
 
If you're interested, there's a limited silkscreen poster of the new cover art, and a limited shirt from the UO era up on our online store (saddle-creek.com). Thanks for allowing me to shamelessly plug.

Is this real life? I just got my white vinyl copy in, plus the limited TWIABP "Whenever" cassette. Shipped in a box, and the cassette in it's own small bubble mailer. One tiny seam split on the jacket, and that's the only issue.
 
I am now done with the "waiting for this fucking Dads record" phase of my life, and can move on to other things. I don't know what I'll do with all the free time.

Is this real life? I just got my white vinyl copy in, plus the limited TWIABP "Whenever" cassette. Shipped in a box, and the cassette in it's own small bubble mailer. One tiny seam split on the jacket, and that's the only issue.
 
I am now done with the "waiting for this fucking Dads record" phase of my life, and can move on to other things. I don't know what I'll do with all the free time.

I'm relatively new to Dads (first heard of them when Radass came out), and this whole scene in general. I've discovered a bunch of bands that I'm really excited about (Dads, TWIABP, Hotelier, You Blew It!, etc). I'm old enough that I was in college when Mineral, Promise Ring, and that crowd was at their peak in 1995-96. It's exciting to see so many people making great music that keeps that sound alive.
 
Referring to the criticisms in previous posts -- It's easy for me to love Dads for a few reasons. I never had any musical ability, so I don't get distracted by stuff like the time signatures or accuracy of the drumming. I just pay attention to how it makes me feel overall, just emotional response I guess. Having loved bands like Cap'n Jazz, I always thought some level of sloppiness can be charming. Another benefit of being an old person is that I don't really do social media. I have no idea what these guys are like on Twitter or Facebook or anything. I don't really give a shit, I just listen to their music and don't worry about what they are like in real life.

I'm relatively new to Dads (first heard of them when Radass came out), and this whole scene in general. I've discovered a bunch of bands that I'm really excited about (Dads, TWIABP, Hotelier, You Blew It!, etc). I'm old enough that I was in college when Mineral, Promise Ring, and that crowd was at their peak in 1995-96. It's exciting to see so many people making great music that keeps that sound alive.
 
Referring to the criticisms in previous posts -- It's easy for me to love Dads for a few reasons. I never had any musical ability, so I don't get distracted by stuff like the time signatures or accuracy of the drumming. I just pay attention to how it makes me feel overall, just emotional response I guess. Having loved bands like Cap'n Jazz, I always thought some level of sloppiness can be charming. Another benefit of being an old person is that I don't really do social media. I have no idea what these guys are like on Twitter or Facebook or anything. I don't really give a shit, I just listen to their music and don't worry about what they are like in real life.

I'm relatively new to Dads (first heard of them when Radass came out), and this whole scene in general. I've discovered a bunch of bands that I'm really excited about (Dads, TWIABP, Hotelier, You Blew It!, etc). I'm old enough that I was in college when Mineral, Promise Ring, and that crowd was at their peak in 1995-96. It's exciting to see so many people making great music that keeps that sound alive.
 
Referring to the criticisms in previous posts -- It's easy for me to love Dads for a few reasons. I never had any musical ability, so I don't get distracted by stuff like the time signatures or accuracy of the drumming. I just pay attention to how it makes me feel overall, just emotional response I guess. Having loved bands like Cap'n Jazz, I always thought some level of sloppiness can be charming. Another benefit of being an old person is that I don't really do social media. I have no idea what these guys are like on Twitter or Facebook or anything. I don't really give a shit, I just listen to their music and don't worry about what they are like in real life.

I'm relatively new to Dads (first heard of them when Radass came out), and this whole scene in general. I've discovered a bunch of bands that I'm really excited about (Dads, TWIABP, Hotelier, You Blew It!, etc). I'm old enough that I was in college when Mineral, Promise Ring, and that crowd was at their peak in 1995-96. It's exciting to see so many people making great music that keeps that sound alive.
 
Referring to the criticisms in previous posts -- It's easy for me to love Dads for a few reasons. I never had any musical ability, so I don't get distracted by stuff like the time signatures or accuracy of the drumming. I just pay attention to how it makes me feel overall, just emotional response I guess. Having loved bands like Cap'n Jazz, I always thought some level of sloppiness can be charming. Another benefit of being an old person is that I don't really do social media. I have no idea what these guys are like on Twitter or Facebook or anything. I don't really give a shit, I just listen to their music and don't worry about what they are like in real life.

Creating a new catalog number and barcode is easy. But for the record label, it can create a lot of logistical and accounting headaches. For each new catalog number, we need to track sales, expenses, royalty payouts, etc, etc. If we are repressing a title that is essentially the same, it just isn't justifiable to create a new release. If we do a deluxe reissue or it is substantively different, we'll issue a new catalog number and barcode.
 
It can also complicate digital media delivery. You'd have a different product on itunes and spotify than the one that you are selling physically.
 
It would also fuck up sales tracking for a release. If you issue it as a new product, sales for that title start over at zero. (This would be related to sales records that count towards having a record go gold). Obviously not an issue for most titles, but it's something that is taken into consideration by bigger indies and majors.
 
I agree it can be a pain in the ass to make sure you are getting the version you want on ebay and discogs. The worst (on discogs) is that some titles start out as having only one submission for multiple versions, and then the repress is added later as a separate entry. Many of the people selling represses in the OG pressing's listing often don't move them over. I've tried to edit submissions like this to minimize the impact on sellers and buyers, but I got yelled at so I gave up. (Make the entry that 600 people own the common repress, and add the rare OG pressing as a new entry). I understand why they have the rules they do, but it makes it likely that people aren't going to get what they are expecting unless they know what to ask.

Creating a new catalog number and barcode is easy. But for the record label, it can create a lot of logistical and accounting headaches. For each new catalog number, we need to track sales, expenses, royalty payouts, etc, etc. If we are repressing a title that is essentially the same, it just isn't justifiable to create a new release. If we do a deluxe reissue or it is substantively different, we'll issue a new catalog number and barcode.
 
It can also complicate digital media delivery. You'd have a different product on itunes and spotify than the one that you are selling physically.
 
It would also fuck up sales tracking for a release. If you issue it as a new product, sales for that title start over at zero. (This would be related to sales records that count towards having a record go gold). Obviously not an issue for most titles, but it's something that is taken into consideration by bigger indies and majors.
 
I agree it can be a pain in the ass to make sure you are getting the version you want on ebay and discogs. The worst (on discogs) is that some titles start out as having only one submission for multiple versions, and then the repress is added later as a separate entry. Many of the people selling represses in the OG pressing's listing often don't move them over. I've tried to edit submissions like this to minimize the impact on sellers and buyers, but I got yelled at so I gave up. (Make the entry that 600 people own the common repress, and add the rare OG pressing as a new entry). I understand why they have the rules they do, but it makes it likely that people aren't going to get what they are expecting unless they know what to ask.

Creating a new catalog number and barcode is easy. But for the record label, it can create a lot of logistical and accounting headaches. For each new catalog number, we need to track sales, expenses, royalty payouts, etc, etc. If we are repressing a title that is essentially the same, it just isn't justifiable to create a new release. If we do a deluxe reissue or it is substantively different, we'll issue a new catalog number and barcode.
 
It can also complicate digital media delivery. You'd have a different product on itunes and spotify than the one that you are selling physically.
 
It would also fuck up sales tracking for a release. If you issue it as a new product, sales for that title start over at zero. (This would be related to sales records that count towards having a record go gold). Obviously not an issue for most titles, but it's something that is taken into consideration by bigger indies and majors.
 
I agree it can be a pain in the ass to make sure you are getting the version you want on ebay and discogs. The worst (on discogs) is that some titles start out as having only one submission for multiple versions, and then the repress is added later as a separate entry. Many of the people selling represses in the OG pressing's listing often don't move them over. I've tried to edit submissions like this to minimize the impact on sellers and buyers, but I got yelled at so I gave up. (Make the entry that 600 people own the common repress, and add the rare OG pressing as a new entry). I understand why they have the rules they do, but it makes it likely that people aren't going to get what they are expecting unless they know what to ask.

I love that Var album. I sprung for the box set, so now I have a length of rope that I can use to strangle my dick while I listen. I wouldn't have known what to do with it, but they were nice enough to enclose a how-to photo.

What?! My record I still own?  Am I suppose to give it away?....anyways that is a completely different topic all together and you are welcome to discuss it in said topic or through PM. 
 
On an other awesome note.  I love the -1s I have got for mentioning where I work?! 

Once again there is some bad spots on the organization.  Unfortunately news/media like to shine on those few down notes more than the hundreds of thousands of people helped.
I have no idea how much my CEO makes but if he is making close to a million dollars year (extremely unlikely) I need to work my way up that ladder.  As a regional DM I'm making WAY less than that. 

OK, so Ill try to be brief.
Goodwill is a giant umbrella label and unfortunately with so many apples in the barrel there is some bad ones.  Goodwill is ran independently region to region, so my experience/knowledge is only what the STL area does for our community.  We helps thousands of people in our community in a number of areas.  We have housing for battered women, work programs to keep juveniles out of jail and off the streets, and yes our biggest outreach is helping to train and employee people who would not other wise be employed.  This employment is not mainly in our stores but in various environments depending on their work skills/abilities.  We have one workshop where works strip used computers to be recycled, a large crew that cleans offices/factories at night, and teams that repackage "local brand" products for area stores.  Some of the people in these work shops make more than me and yes some of them make less than minimum wage, it is based on what their work output ( basicly a per peace pay and not hourly pay.)  We are non-profit company and every penny we can raise goes into local organizations.
 
That being said our reasoning for online sales is we want to make as much money as we can to help as many people as we can.  We sell items in stores at reasonable prices most of the time, but yes some items have a high value.  The average customer we get into a store does not look to spend hundreds of dollars on their visit for a diamond ring or top of the line record player so we sell them online to broaden our customer base.  Once again I can not speak for every areas sales goal online, but only what I do locally.  Yes some of the stuff we sell goes for more than it's worth, but a lot of it sells for way less.  I would say about 75% of what we sell goes to resellers who buy from us to make a profit themselves.  I have 0 problem with what ever people do with an item after they buy it from us, but in my opinion I want to try as hard as I can to get as much money as I can to our organization and not let people buy stuff cheap from us just to make their own profit.
 
On that note...I should get back to work.  Check out what we have for sale because you never know what you will find at Goodwill!
http://www.shopgoodwill.com/search/SearchKey.asp?itemTitle=&catid=0&sellerID=140&closed=no&minPrice=&maxPrice=&sortBy=itemEndTime&SortOrder=a&showthumbs=on

Yes sometimes people bid more than the normal cost...maybe because the money all goes to a charity organization.....

I run the St Louis regions Shopgoodwill sales.  We sell very few records as most of the stores don't know what is what and it is pretty much impossible to train them on vinyl. But we have sold some amazing record players on our site.

Do you live in FL?  If so yeah I would recommend finding a different group than goodwill to donate to, however...
if you live some where else, then look into your local goodwill.  Every region is completely different.  Most of our workers make above minimum wage (however I am interested to see how this goes now that minimum wage is going up again.)
Please don't throw stuff away that could easily be donated to help out your community.

Not a record, but easily the coolest thing I listed today:
http://www.shopgoodwill.com/viewItem.asp?itemID=15148162

I've gotten some very large orders from overseas and have never had to pay any fees. Most of the time it's from an ebay or discogs seller, but I have ordered $350+ from European retailers on a couple occasions and haven't had to pay anything. The customs form had the full value listed in both instances.
 
That's no guarantee that it will be the case here, but that's been my experience over the last 10 years of buying heavily.
 
On the off chance you do get hit with customs, I think the agreement in advance needs to be that everyone will chip in to cover their share before they get a record.