{"product_id":"giant-sand-returns-to-valley-of-rain-repress","title":"GIANT SAND - Returns To Valley Of Rain (Repress)","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Indies Exclusive Limited Edition Blue Vinyl.   \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eValley of Rain\u003c\/em\u003e was Tucson’s \u003cstrong\u003eGiant Sand\u003c\/strong\u003e’s debut album recorded in 1983, and eventually released by 1985. It included \u003cstrong\u003eHowe Gelb\u003c\/strong\u003e on vocals, guitar and \u003cstrong\u003eWinston Watson\u003c\/strong\u003e on drums for most of it, \u003cstrong\u003eTommy Larkins\u003c\/strong\u003e on drums for some of it and \u003cstrong\u003eScott Garber\u003c\/strong\u003e on fretless bass for all of it. At the time of the recording, Howe was unacquainted with the possibilities of tube (valve) amps and had recorded most of the album with a Roland JC120 at the miraculous 8 track facilities of \u003cstrong\u003eThe Control Center\u003c\/strong\u003e in Korea Town, Los Angeles by \u003cstrong\u003eRicky “Mix” Novak\u003c\/strong\u003e. This impromptu recording had occurred because the band refused to cancel their first Los Angeles live gig, at Madame Wong’s, when the band (Giant Sandworms) had broken up days before in Tucson. Instead, Howe headed out anyway with Scott, the newest member who’d only been in the band for about a year, after band mainstays \u003cstrong\u003eBilly Sed\u003c\/strong\u003e and \u003cstrong\u003eDave Seger\u003c\/strong\u003e reasonably decided ‘enough was enough’ following a rough and tenuous year spent in the lower east side of NYC attempting to further the band circa 1981\/82. Tucsonan \u003cstrong\u003eWinston Watson\u003c\/strong\u003e, (who would go on to tour with Bob Dylan in the 90s, as well as Alice Cooper, Warren Zevon etc ) was already living in Los Angeles and was brave\/kind enough to jump in for the live date with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. The total cost of the day and a half recording was $400 including one 1” reel of 30 minute tape. \u003cbr\u003e\u003cbr\u003eWhen \u003cstrong\u003eEnigma Records\u003c\/strong\u003e offered to release the album they requested another 15 minutes of music to make it a full LP. \u003cstrong\u003eRon Goudie\u003c\/strong\u003e was then called in to oversee the extra recordings at a Venice, CA studio called \u003cstrong\u003eMad Dog \u003c\/strong\u003ewith \u003cstrong\u003eEric Westfall\u003c\/strong\u003e engineering. \u003cstrong\u003eTommy Larkins\u003c\/strong\u003e, who had been on the previous country punk album of Howe’s The Band of ... \u003cstrong\u003eBlacky Ranchette\u003c\/strong\u003e came in to drum for those last 3 songs. It was there when Howe borrowed an amp that had been stored at the studio did he discover the bolster of a tube amp and his world changed. The amp was a slightly modified Fender Twin Reverb owned by Robbie Krieger of The Doors. \u003cbr\u003e\u003cbr\u003e30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see whatthey could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. The first attempt came last summer with both \u003cstrong\u003eWinston\u003c\/strong\u003e and \u003cstrong\u003eTommy\u003c\/strong\u003e and \u003cstrong\u003eThøger Lund\u003c\/strong\u003e on bass, as well as the 2 newest members, 29 year old \u003cstrong\u003eGabriel Sullivan\u003c\/strong\u003e and 23 year old \u003cstrong\u003eAnnie Dolan\u003c\/strong\u003e on double neck guitars. The sound was insane. The funny part was Gabriel, who engineered and mixed the session, gave it an intentional 80s production sound. Howe later explained to Gabe he had been at war with that production trend since those first original recordings. So they all tried it again at Christmas time, this time with a newly discovered Fender 30 amp that had only been in production from 1980 – 1983. This new re-recording of that first album now sounds like it should’ve sounded. It was re-done for $400 and the same day and a half session time as the original. \u003cstrong\u003eScott Garber\u003c\/strong\u003e even drove up from Austin TX with his fretless to play so that the album is literally the originally line up for at least half of the songs. And yes, no pedal boards were used too. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Fire Records","offers":[{"title":"LP - Blue Vinyl","offer_id":48422000492889,"sku":"SDZ-13714","price":14.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/Giant_Sand_-_Returns_To_Valley_Of_Rain_-_LP_Blue_Vinyl_Repress.jpg?v=1716911635","url":"https:\/\/spindizzyrecords.com\/products\/giant-sand-returns-to-valley-of-rain-repress","provider":"Spindizzy Dublin","version":"1.0","type":"link"}