
<!--Array
(
    [0] => 587208
    [ARTIST_ID] => 587208
    [1] => The Remains
    [NAME] => The Remains
    [2] => T
    [LETTER1] => T
    [3] => TH
    [LETTER2] => TH
    [4] => THE
    [LETTER3] => THE
    [5] => THE 
    [LETTER4] => THE 
    [6] => THE R
    [LETTER5] => THE R
    [7] => 1918530
    [ALBUM_ID] => 1918530
    [8] => 587208
    [9] => The Remains (Remastered + Expanded)
    [TITLE] => The Remains (Remastered + Expanded)
    [10] => 1966
    [YEAR] => 1966
    [11] => rock & roll
    [GENRE] => rock & roll
    [12] => 49
    [MIN] => 49
    [13] => 59
    [SEC] => 59
    [14] => The Remains (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginally Released September 1966\nRemastered + Expanded CD Edition Released May 15, 2007\n\nAMG EXPERT REVIEW: For years, the debut album from Boston's the Remains -- the only album the group would release during their original incarnation -- got a bad rap, not so much for its inherent strengths or weaknesses but because a number of writers and fans (most notably Jon Landau) felt it didn't capture the power and energy of the band's fabled live shows. But while the live-in-the-studio demo the band cut for Capitol Records in 1966 (currently available as A Session with the Remains) may be sharper and more frantic, time has vindicated The Remains as a superb example of blues-influenced garage rock, tough and swaggering but with plenty of heart to go along with all that soul. While the early Rolling Stones are a fair comparison to this, if anything the Remains were able to fuse blues and full-bore rock with a more satisfying sense of groove and Barry Tashian's emotionally charged vocals and bare-wires guitar work are consistently electrifying on this set's ten songs, while William Henry Briggs' keyboards offer solid and admirably varied support. While the album gets off to a midtempo start with the deep and moody "Heart" and "Lonely Weekends," once the band shifts into fourth gear with the almost-hit "Don't Look Back" this album rocks solidly, and the six originals show Tashian, Briggs, and bassist Vernon Miller were all top-shelf songwriters. If The Remains isn't quite the flamethrower set their legend would lead some to expect, it's blue-eyed soul and blues at its most potent, and one of the most thoroughly satisfying albums to come out of the '60s garage rock era.  \n\n[While the material from The Remains made its CD debut on a 1991 compilation called Barry and the Remains, that disc featured new digital remixes and rearranged the sequence, folding the songs in with a handful of non-LP single sides and an alternate take of "Say You're ...
    [INFO] => The Remains (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginally Released September 1966\nRemastered + Expanded CD Edition Released May 15, 2007\n\nAMG EXPERT REVIEW: For years, the debut album from Boston's the Remains -- the only album the group would release during their original incarnation -- got a bad rap, not so much for its inherent strengths or weaknesses but because a number of writers and fans (most notably Jon Landau) felt it didn't capture the power and energy of the band's fabled live shows. But while the live-in-the-studio demo the band cut for Capitol Records in 1966 (currently available as A Session with the Remains) may be sharper and more frantic, time has vindicated The Remains as a superb example of blues-influenced garage rock, tough and swaggering but with plenty of heart to go along with all that soul. While the early Rolling Stones are a fair comparison to this, if anything the Remains were able to fuse blues and full-bore rock with a more satisfying sense of groove and Barry Tashian's emotionally charged vocals and bare-wires guitar work are consistently electrifying on this set's ten songs, while William Henry Briggs' keyboards offer solid and admirably varied support. While the album gets off to a midtempo start with the deep and moody "Heart" and "Lonely Weekends," once the band shifts into fourth gear with the almost-hit "Don't Look Back" this album rocks solidly, and the six originals show Tashian, Briggs, and bassist Vernon Miller were all top-shelf songwriters. If The Remains isn't quite the flamethrower set their legend would lead some to expect, it's blue-eyed soul and blues at its most potent, and one of the most thoroughly satisfying albums to come out of the '60s garage rock era.  \n\n[While the material from The Remains made its CD debut on a 1991 compilation called Barry and the Remains, that disc featured new digital remixes and rearranged the sequence, folding the songs in with a handful of non-LP single sides and an alternate take of "Say You're ...
    [15] => 
    [CD_AMAZON_ID] => 
    [16] => 
    [MP3_AMAZON_ID] => 
    [17] => 9
    [fdb_genre] => 9
    [18] => 190bb514
    [fdb_id] => 190bb514
    [19] => T
    [20] => TH
    [21] => THE
    [22] => THE 
    [23] => THE R
    [24] => 0
    [MB_RG_ID] => 0
)
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          <h1 class=h1artist>The Remains</h1><p class=subheadermargin>
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<td><a href="/The%20Remains-id38094/"><nobr>The Remains</nobr></a>
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<td><a href="/The%20Remains-id403930/"><nobr>The Remains</nobr></a>
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