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OVERDRIVE FEATURE INTERVIEW: DEFTONES – “In a lot of ways, it kind of felt that we were coming back home”. – SERGIO VEGA

It’s been four years since the world was gifted with a new Deftones album and with their ninth studio offering, ‘Ohms’ about to be unleashed this Friday [September 25th], we caught up with bassist, Sergio Vega, to talk about the album and so much more…

Despite the tempestuous events that are happening throughout the globe, small offerings of escapism are at hand to help some of us through the cluster-fuck that is 2020.

In case you’ve been living under a rock, you may have heard that Sacramento visionaries, Deftones are about to release a new album, ‘Ohms‘ this Friday [September, 25th].

Is this cause of a celebration? You bet your ass it does!

Speaking from his apartment in New York, bassist Sergio Vega opens up about the new album, his thoughts on 2016’s ‘Gore‘ LP, the inner workings of the and so much more…

Down The Barrel Photography, exclusively for © 2020

OD -It’s 2020, the world is on fire and disease-ridden, but at least there’s a new Deftones album. With the restrictions on movement and gatherings etc, I know that the album was delayed from a June/July release date to September. During this time, was there anything out of the ordinary that you guys had to reconsider for this album?

SERGIO – No, fortunately for us the album was pretty much done when the lockdown began in the United States. We were in the final states with all the music tracked. Frank [Delgado – Samples, Keys] made a few extra trips to add some keys here and there and Chino [Moreno – vocals] did a few extra guitar tracks. I also made a few trips out there to work out some vocal stuff, but that was only a few weeks after the initial lockdown had begun, so we were in a really fortunate place when it [the pandemic] all got very serious.

OD – Did the lockdown itself inspire any quick decision-making when you all realised that it was going to have a profound effect on the usual promo activities that would normally happen when releasing an album?

SERGIO – We considered a few things but here we are and the album is due very soon. It’s been great to see the reaction online to the tacks that we’ve already released [‘Ohms‘ and ‘Genesis’]. It’s very much appreciated. To see this much excitement for a band that is about to release their 9th album is very rare [Laughing]. Especially in this day and age.

To be not only relevant but also ‘current‘ is a great feeling and one that we all appreciate very much.

OD – One of the things I noticed with the album is that it’s much warmer, with a lot of low-end with big, chunky riffs from Stephen. For example, ‘Radiant City’ and ‘Urantia’, did the tracks just come about that way, or was this the advice of Terry Date [Producer]?

SERGIO – I think this requires a kind of a layered answer here, so, I’ll try and keep it as clear as I can [Laughing]. First of all, we don’t really give ourselves much structure because we don’t want to set any kind of preconceived boundaries when creating new music.

Terry Date and Chino working on ‘Ohms’ – © Deftones 2020

The freedom from these constraints allow for ‘happy accidents‘ and inspires a direction to which we have not anticipated and this allows us to create something that is very immediate, cutting edge and fresh. It’s a system that just really works for us all and we’re beyond happy with the results.

Now, the decision to bring Terry back in on this album was definitely based on the history that the band have with him. I’ve had the pleasure of knowing him from recording this album and it’s been such a great experience. We just knew that he was going to make a very bold-sounding album and he has absolutely achieved that.

Terry has exceeded our expectations on this new album and for me personally, it was a real joy to have the experience of working with him, with both vocals and bass.

OD – Speaking of Terry, how did it come about that he was gonna be working on this album, who made the first contact?

SERGIO – I think it was a kind of; “Right Time, Right Place” situation. It was a perfect storm with the timing between the band vs Terrys’ schedule and it just fit into place so perfectly. In some ways, it kind of felt that we were ‘coming back home‘ with the marriage between the music, the mindset of everyone, and Terry being on board etc..

That’s really where the personal level came into play with the album. There was a conscious effort to put everything into this and get the best out of the experience; from day one.

I think that one of the things that was very apparent was Stephen [Carpenter – guitars] brought back the personal connection of our friendships which was very much involved as a whole, during the writing process. Terry was an expression of that also. He is [Terry] just amazing at what he does and he’s an amazing person also.

OD – With regards to the writing of the album, Chino has said that Stephen was way more connected with ‘Ohms’ than that of “Gore” [2016] and also that there was a wider input from all band members. Was this the first album that all of you were contributing to the writing and if so, does that make this somewhat of a landmark album?

Down The Barrel Photography, exclusively for © 2020

SERGIO – I don’t really know if it’s ‘landmark‘. I look at it from another point of view. For example, when we go into the creative state of mind and we are in our writing space, I’ll fire up the laptop/hard drive and we set up a separate feed for everyone to record all of our individual parts.

There was a bit of a disconnect with ‘Gore‘ but it wasn’t expressed on the amount of contributions from each of the band members, specifically Stephen. I think there was a disconnect because we would come in [for rehearsals] for a couple of weeks and it would be like; ‘work, work, work, work‘, then pause.

I have all the hard drives’ from those sessions and there’s loads of stuff from Stephen and everybody else. Abe [Cunningham – Drums] and I would trail through the audio and edit a lot of ideas. We were championing certain songs/ideas and the genesis of the tracks may have become lost, but I have an acute memory of where they stemmed from because it was very important to bring this record [‘Gore‘]home.

With ‘Ohms‘ we are all stoked. We put a lot of effort into this new album and tried to bring in the element of our history with each other, our history as friends. Don’t get me wrong, we don’t dislike ‘Gore‘, not one bit. It’s not like we weren’t getting along when that album was being created and I don’t like the concept that Stephen wasn’t contributing to the writing process, because it’s not entirely the case. There were songs that he contributed to in a later stage. People have these preconceptions about the roles in the band and its just not true.

We’re all writing all the time. I’m writing from home, we’re writing together, Stephen and Chino are sending over ideas to all of us and likewise. The truth is so much more cooler than binary falsities.

OD – The marketing for the release has been very coded and cryptic, was this just to give more anticipation to the marketing or is there a deeper meaning to it?

SERGIO – I don’t know if I’m using the term correctly but I believe the artwork is ‘impressionistic‘. We prefer to have visuals that leave the interpretation of the individual. We react to things in one way, that will differ from what others may feel, or understand.

The art director, [Frank Maddocks] will present us with several ideas and then we’ll all chime in and give our two-cents and then a little while later, we’ll begin to think about why we like it and what it may remind us of.

For example, some images could subtly remind us of Prince, or the ’80s or some black and white images, which kind of remind us of the early Punk covers etc. We make decisions on images, based on a collective feeling of nostalgia and joy.

We love looking at what people think and how they interpreted the images we use. With ‘Ohms‘ the marketing campaign was very interesting. We channelled our creativity in a new way because we had more time on our hands. We asked ourselves the question; “How can we have a bit of fun with this?” So, the parameters of expression were set in place and we began to role out this online campaign.

To be honest, this was something that I grew to understand and appreciate more. I’m used to the hardcore scene where everybody just puts things out, then play on stage and walk off into the crowd [Laughing]. There’s no mystery with that format.

It’s been a lot of fun checking out what people think about it all and how they are interpreting the images and information we release. I know it’s not the healthiest thing to do, but sometimes I’ll go on a Facebook group and read the comments [Laughing].

OD – Do you snoop around online and see what people are saying?

SERGIO – Yes, but not too often. You can let all your readers know that I’m watching [Laughing].

OD – Is there any particular track that you’re leaning towards as being a favourite on the new album?

SERGIO – Hmmm… Honestly, it never really works that way for me. I know that Abe has a thing for ‘Radiant City‘ because of the way the intro kicks in with the bass, followed by the drums. But for me, I tend to look at the whole album as one piece, if you know what I mean.

The songs work in sequence and it’s just kind of hard for me to carve off one in particular. Usually, when we have a new video coming out, like ‘Genesis‘ [released 18/09/20] that’s been in my head the last few days because I’ve been listening to is a lot.

But it doesn’t mean that I regard it as a higher ranking song than any of the others on the album. It’s just that it’s having it’s day in the sun right now and I’m hearing it a lot.

Actually, speaking of ‘Genesis‘, it’s fun for me to hear that in the wild because the track actually spawned from a little home-demo I made in the middle of the nigh;t when I was living in Harlem, NY.

I woke up with it in my head and I was like; “Oh, man, I gotta get this down. It could be really cool”. I programmed some guitars, drums etc and sent it over to the guys and it pretty much made it… intact! [Laughing].

It’s fun to hear because I can still reference my little demo idea and now I can hear how amazing it sounds in comparison. It reinforces the fact that it’s never really a song until all of us touch it.

OD – Can we talk about the re-issue of ‘White Pony’ aka ‘Black Stallion‘ and when we can expect to see that and also, what exactly will be on that album? Have you guys figured out a release date or is there any other additional information you can share right now?

Down The Barrel Photography, exclusively for © 2020

SERGIO – No, I’ve no new information for you on this [Laughing]. I’ll be honest with you, the way things work with us is, there are ideas and then we figure out how to reveal said ideas. The fact that I’ve heard nothing on the reveal side of things on this [‘White Pony‘ re-mix], I would say that there’s no new info.

Now, don’t get me wrong, I could have missed an email [Laughing], but at this moment in time, there’s no update on when this is gonna come out.

OD – There’s a lot of synergy in the band at the moment, you’ve got the new album coming out, the ‘White Pony‘ re-mix the new beer etc. Do you feel that things are in a very good place right now?

SERGIO – Yeah, things are going well. There are five strong personalities in this band and each of us are very passionate about how we want to do things. So, its par for the course that there will be some friction at times and without that, you don’t get to elevate your game. These guys are some of the best people I’ve ever worked with and they are not only good at what they do, but they are very different from each other, have their own wisdom and experience and we all benefit from that together.

These are people who are genuinely interested in their craft, for example, Stephen is constantly challenging himself, as we all do. The work never stops.

OD – The North American tour with Gojira and Poppy has been postponed, will this tour pick up again when things are safe and also, can we see this line up coming over to Europe?

SERGIO – It’s too early to say right now because of what’s happening, but most of our dates are intact and have shifted over to next year. I was just talking to a friend of mine who got me thinking that larger events are going to be much more difficult to return, than that of the smaller shows.

My friend was talking about someone he knew who is a jazz drummer and he’s been just performing wherever he can, like in the park, or where ever [Laughing]. They literally have no stopped doing live performances during this whole lockdown.

So, the hope is next year we can get back out there and do some live shows. At the end of the day, it’s all about logistics. There has to be some kind of safe, working plan to get things back to where they once were, or even remotely close to that. All we can do is just wait and see what happens.

OD -Since your time in the band, is there any particular moment that stands out more than any other, a moment that had a profound effect on you and your partnership/friendship with the band?

SERGIO – Honestly, not really. We’ve all been friends for such a long time and when I came into the band it was under very painful circumstances. It was not really a happy feeling because obviously everybody was heartbroken with what happened to Chi. For me, I was just being a friend. I wanted to put my best foot forward and do the best I could for my friends; during a very difficult time.

Chi Ling Dai Cheng (July 15, 1970 – April 13, 2013)

We’ve had a lot of years behind us, and I think we all just knew that when Chi [pictured above] went down, we had to keep things moving and I was asked to step in. So, there’s never really been this celebratory moment, I just put my best foot forward and did the very best I could.

OD – Finally, can you please share one of your favourite tracks/videos?

SERGIO – Hmm, let me think. I’m stumped because some of my favourite tracks have pretty uneventful video. I’ll go with anything off ‘Loveless‘ from My Bloody Valentine. Such a great band.

Ohms‘, the 9th studio album from Deftones will be released via Warner Music on Friday, September 25th. Pre-orders are available here.

Read our review of ‘Ohmshere.

Oran O’Beirne

Live photos – Down The Barrel Photography, exclusively for © 2020 2020 © 2020. All Rights Reserved. AddThis Sharing ButtonsShare to FacebookShare to TwitterShare to PrintShare to EmailShare to More


‘PINK FLOYD THE LATER YEARS’ Released: 29 November 2019

  • Ultimate 16-disc collection of materials from 1987 onwards
  • ‘A Momentary Lapse of Reason’ updated and re-mixed by David Gilmour and Andy Jackson
  • Over six hours of previously unheard audio and over seven hours of previously unseen audiovisuals from ‘A Momentary Lapse of Reason’, ‘The Division Bell’ and ‘The Endless River’ albums
  • Full unreleased audio and remastered films from 1989’s Venice concert and 1990’s special Knebworth concert: unseen for decades
  • Unearthed footage of Pulse rehearsals and full-length Ian Emes film of ‘The Endless River’
  • First ever release of Pink Floyd’s last live performance with David Gilmour, Nick Mason and Richard Wright together at the 2007 Syd Barrett Tribute Concert included on Blu-ray, DVD and 7” vinyl
  • New 5.1 mixes, first ever Blu-ray releases and unique 7” singles included
  • Memorabilia including replica tour programmes, a lyric book and a 60-page photo book
  • 2-LP / 1CD highlights package also to be released.

On 29 November 2019, Pink Floyd Records will release ‘Pink Floyd The Later Years’, a 16-disc set (5xCDs, 6xBlu-Rays, 5xDVDs) covering the material created by David Gilmour, Nick Mason and Richard Wright from 1987 onwards. The period generated record sales of over 40 million worldwide and included three studio albums: ‘A Momentary Lapse of Reason’, ‘The Division Bell’ and ‘The Endless River’ as well as two live albums: ‘Delicate Sound of Thunder’ and ‘Pulse’. With additional production from David Gilmour and Andy Jackson, over 13 hours of unreleased audio and audiovisual material, including the sought-after 1989 Venice and 1990 Knebworth concerts, ‘Pink Floyd The Later Years’ is a must for all fans.

A multi-media, deluxe box set, ‘Pink Floyd The Later Years’ presents an expanded view of the Pink Floyd story from 1987 to the present and kicks off with ‘A Momentary Lapse of Reason’, the album that confirmed Pink Floyd as one of the world’s biggest artists.

The album, presented for the first time in 5.1, has been remixed and updated by David Gilmour and Andy Jackson. The release of The Later Years project gives an opportunity for a fresh overview of the ‘A Momentary Lapse of Reason’ album. By returning to some of Richard Wright’s keyboard parts and recording new drum tracks with Nick Mason, producers David Gilmour and Bob Ezrin have restored the creative balance between the three Pink Floyd members.

Throughout 1987 and 1988 the band’s live shows became the largest-grossing concert tour ever to that date and produced the critically acclaimed, Grammy Award nominated,‘Delicate Sound of Thunder’. Filmed at the Nassau Coliseum in New York State, the concert shows the band on the top of their form.The concert has been fully re-edited and upgraded from the original 35mm film negatives by Aubrey ‘Po’ Powell and Benny Trickett and the sound remixed to 5.1. It also includes Terminal Frost and Welcome To The Machine, two tracks that were not included on the original concert film release. For the first time the concert is available in 5.1 on Blu-ray and DVD.

Two of the most sought-after additions to ‘Pink Floyd The Later Years’ are the 1989 Venice Concert, performed on a floating stage in front of St Mark’s Square, and the 1990 Silver Clef Winners performance at Knebworth. Both concerts, previously unreleased, are now available on both DVD and Blu-ray (145mins). The momentous Knebworth concert saw Pink Floyd topping the all-star bill (that included Paul McCartney, Dire Straits, Genesis, Phil Collins, Eric Clapton and Tears For Fears), in aid of the Nordoff Robbins charity, profits from which went towards setting up the BRIT School. David Gilmour and Andy Jackson have remixed the audio from this iconic concert and all 7 tracks performed on the day (with guest musicians including sax player Candy Dulfer, the original The Great Gig In The Sky vocalist Clare Torry, keyboard player Michael Kamen and Sam Brown with her mother, Vicki, on vocals), are released here as well as for the first time ever on CD.

1994’s album ‘The Division Bell’ sold over 12 million copies, having debuted at No 1 in the UK, the USA, Australia and New Zealand. It stayed at the top of the US charts for 4 weeks, and also went to No 1 in six other countries. The resulting tour was captured and recorded for the concert release ‘Pulse’. This release contains the entire ‘Pulse’ live concert film, re-edited and upgraded from the original masters, from the groundbreaking Earl’s Court gigs, and available for the first time on Blu-ray. Also uncovered for the first time is footage of the band in rehearsals on 20 October 1994 performing A Great Day For Freedom and Lost For Words.

In 2014, Pink Floyd released ‘The Endless River’, comprising mostly instrumental and ambient music based on material recorded during ‘The Division Bell’ sessions. Featuring David Gilmour, Nick Mason and Richard Wright, additional material was recorded in 2013 and 2014, with one song, Louder than Words, with lyrics by author & novelist Polly Samson (the primary lyricist for ‘The Division Bell’ album).  ‘The Endless River’ became the most pre-ordered album of all time on Amazon UK and debuted at number one in several countries. The vinyl edition was the fastest-selling UK vinyl release since 1997. Included here for the first time is the never previously seen specially commissioned full 52-minute ‘The Endless River’ film by Ian Emes, famed for his work with Pink Floyd, including his animations for One of These Days, Speak To Me, Time and On the Run.

Rounding off the package are hours of unreleased bonus materials including music videos, documentary footage, bonus live tracks, upgraded tour screen films and documentaries. It includes the first ever release, on Blu-ray, DVD and 7” vinyl, of the last live performance of Pink Floyd with David Gilmour, Nick Mason and Richard Wright together in 2007. This special performance of Arnold Layne took place at the Syd Barrett Tribute Concert at The Barbican on 10 May 2007. The full set boasts previously unreleased or remixed audio, plus restored, remastered and re-edited audio-visuals including unreleased concert footage and promo clips.

With the help of Nick Mason and the Pink Floyd archive, the box set comes with reproductions of tour artwork, posters, programmes, tour laminates, lyric book and much more including two 7” vinyl singles, (the live version of Arnold Layne performed at the Syd Barrett Tribute Concert in 2007 and Lost For Words from the ‘Pulse’ tour rehearsals at Earl’s Court), in new picture sleeves and etched image B-sides. Also included is a brand new 60-page hardback book of photos, designed by Aubrey Powell of Hipgnosis and Peter Curzon of StormStudios, including many previously unseen images.

The 5 CDs are encased in their own 40-page hardback book with an extensive guide to all content, tracklists and credits.

There will also be a 2-LP / 1-CD ‘Highlights’ package. It comes in a gatefold sleeve (for both 1-CD and 2-LP), and each will contain a 24-page booklet containing previously unseen and rare photos.

  1. Shine On You Crazy Diamond (Parts 1-5) [Live at Knebworth 1990] [2019 Mix] (new 2019 mix)
  2. Marooned Jam (Unreleased 1994 Recording) (previously unreleased)
  3. One Slip (2019 Remix) (new A Momentary lapse of Reason 2019 mix)
  4. Lost For Words (Tour Rehearsal 1994) (previously unreleased)
  5. Us And Them (Live, Delicate Sound Of Thunder) [2019 Remix] (new 2019 mix)
  6. Comfortably Numb (Live at Knebworth 1990) [2019 Mix] (previously unreleased)
  7. Sorrow (2019 Remix) (new A Momentary lapse of Reason 2019 mix)
  8. Learning To Fly (Live, Delicate Sound Of Thunder) [2019 Remix] (new 2019 mix)
  9. High Hopes (Early Version) [Unreleased 1994 Recording] (previously unreleased)
  10. On The Turning Away (2019 Remix) (new A Momentary lapse of Reason 2019 mix)
  11. Wish You Were Here (Live at Knebworth 1990) [2019 Mix] (previously unreleased)
  12. Run Like Hell (Live, Delicate Sound Of Thunder) [2019 Remix] (new 2019 mix)

‘Pink Floyd The Later Years’ will be released on November 29th and is available to pre-order here:


Product overview:


5 x CDs, contained in their own 40-page, hardback book, containing a guide to all content, tracklistings, exhaustive content detail and credits.

CD 1   ‘A Momentary Lapse of Reason’ Remixed & Updated   51 mins

CD 2 & 3  ‘Delicate Sound Of Thunder’ Remixed  140 mins

CD 4   Live Recordings, 1987 & 1994 Unreleased Studio Recordings                  65 mins

CD 5   Knebworth Concert 1990 57 mins


6 x Blu-rays, each contained in a gatefold wallet with dedicated cover art, including tracklistings and music publishing credits. Discs contained in protective plastic sleeves inside wallet. 

Blu-ray 1          Surround & Hi-res Audio Mixes  152 mins

Blu-ray 2          ‘Delicate Sound Of Thunder’ Restored & Remixed 120 mins

Blu-ray 3          ‘Pulse’ Restored & Re-edited 145 mins

Blu-ray 4          Venice Concert 1989 & Knebworth Concert 1990 147 mins

Blu-ray 5          Unreleased Live Films Music Videos & Concert Screen Films  154 mins

Blu-ray 6          Documentaries & Unreleased Material  122 mins


5 x DVDs (duplicating the content of Blu-rays 2-6 above), each contained in a gatefold wallet with dedicated cover art, including tracklistings and music publishing credits.

7” Singles

2 x 7” vinyl singles in brand-new picture sleeves, featuring ‘Arnold Layne’ performed live by Pink Floyd at the Syd Barrett Tribute concert, 2007 and Lost For Words from the Pulse tour rehearsals at Earl’s Court.

Photo book

60-page hard backed book of photos designed by Aubrey Powell of Hipgnosis and Peter Curzon of StormStudios, including many previously unseen images.

Replica Tour Programmes and Lyric Book

A newly-created set of reproduction tour programmes (Pink Floyd World Tour 1987/1988, Pink Floyd Live 1989, Pink Floyd European Tour 1994), plus a brand-new Lyrics Book, designed by Aubrey Powell of Hipgnosis and Peter Curzon of StormStudios.


A collection of reproduction memorabilia including tour passes, stickers and posters, all printed to replicate the originals, and contained in a prestige card envelope.  /



Widely considered to be both The Smiths’ finest work and one of the greatest albums ever made, ‘The Queen Is Dead’ has cast a significant influence over subsequent generations since it was first released in the summer of 1986. Now Warner Bros. Records can confirm details of a newly mastered and expanded version of the album that will be released on 20th October.

This reissue represents the first time that The Smiths’ back catalogue has been revisited in such a way. It follows two recent limited edition vinyl singles sourced from the archives: a demo mix of ‘The Boy With The Thorn In His Side’ which was released for Record Store Day, and ‘The Queen Is Dead’ which debuted at #1 on the official vinyl chart when it was released in June.

The album features several of the band’s finest moments including the title track and ‘There Is A Light That Never Goes Out’, as well as the iconic singles ‘The Boy With The Thorn In His Side’ and ‘Bigmouth Strikes Again’.

‘The Queen Is Dead’ will be released on digital and streaming formats as well as the following physical formats – all of which feature the 2017 master of the original album:

Deluxe 3CD / 1 DVD box set – featuring the 2017 master of the album; additional recordings featuring demos, b-sides and alternative versions; the ‘Live In Boston’ album recorded at the Great Woods Center For The Performing Arts on 5th August 1986; and a DVD featuring the 2017 master of album in 96kHz / 24-bit PCM stereo and ‘The Queen Is Dead – A Film By Derek Jarman’.

2CD version – featuring the 2017 master and additional recordings.

5LP box – featuring the 2017 master of the album, additional recordings and the ‘Live In Boston’ recording.

“You cannot continue to record and simply hope that your audience will approve, or that average critics will approve, or that radio will approve,” says Morrissey. “You progress only when you wonder if an abnormally scientific genius would approve – and this is the leap The Smiths took with The Queen Is Dead.”

Johnny Marr adds, “The Queen Is Dead was epic to make and epic to live.”

CD1 – Original album: 2017 master

1. ‘The Queen Is Dead’
2. ‘Frankly, Mr. Shankly’
3. ‘I Know it’s Over’
4. ‘Never Had No One Ever’
5. ‘Cemetary Gates’
6. ‘Bigmouth Strikes Again’
7. ‘The Boy With The Thorn In His Side’
8. ‘Vicar In A Tutu’
9. ‘There Is A Light That Never Goes Out’
10. ‘Some Girls Are Bigger Than Others’

CD2 – Additional recordings

1. ‘The Queen Is Dead’ (full version)
2. ‘Frankly, Mr. Shankly’ (demo)
3. ‘I Know It’s Over’ (demo)
4. ‘Never Had No One Ever’ (demo)
5. ‘Cemetary Gates’ (demo)
6. ‘Bigmouth Strikes Again’ (demo)
7. ‘Some Girls Are Bigger Than Others’ (demo)
8. ‘The Boy With The Thorn In His Side’ (demo mix)
9. ‘There Is A Light That Never Goes Out’ (take 1)
10. ‘Rubber Ring’ (b-side)
11. ‘Asleep’ (b-side)
12. ‘Money Changes Everything’ (b-side)
13. ‘Unloveable’ (b-side)

Tracks 1-7 and 9 are previously unreleased.
Track 8 was released on 7” for Record Store Day.
Tracks 10 and 11 are 2017 masters of b-sides from ‘The Boy With The Thorn In His Side’.
Tracks 12 and 13 are 2017 masters of b-sides from ‘Bigmouth Strikes Again’.

CD3 – ‘Live in Boston’ – previously unreleased

1. ‘How Soon Is Now?’ (5.25)
2. ‘Hand In Glove’ (2.58)
3. ‘I Want The One I Can’t Have’ (3.24)
4. ‘Never Had No One Ever’ (3.29)
5. ‘Stretch Out And Wait’ (3.09)
6. ‘The Boy With The Thorn In His Side’ (3.34)
7. ‘Cemetery Gates’ (3.01)
8. ‘Rubber Ring/What She Said/Rubber Ring’ (4.17)
9. ‘Is It Really So Strange?’ (3.23)
10. ‘There Is A Light That Never Goes Out’ (4.09)
11. ‘That Joke Isn’t Funny Anymore’ (4.51)
12. ‘The Queen Is Dead’ (5.08)
13. ‘I Know It’s Over’ (7.39)

Recorded at the Great Woods Center For The Performing Arts on 5th August 1986.


‘The Queen Is Dead’ on 96kHz / 24-bit PCM stereo.
‘The Queen is Dead – A Film by Derek Jarman’.

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