The Vega Vault Project and Sacred Bones Records have released remastered editions of Alan Vega’s self-titled 1980 debut and its 1981 follow-up ‘Collision Drive,’ now available on streaming services for the first time ever. Both albums have been remastered from the original tapes and faithfully re-released, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners worldwide. A limited deluxe double LP edition of the self-titled album is also available, pairing the remastered original with a second disc of previously unheard early demos discovered in the Vega Vault by Liz Lamere and Jared Artaud, with tape transfers by engineer Ted Young and mastering by Josh Bonati.
Three newly available tracks anchor today’s update. The remastered versions of the twangy, guitar-driven “Kung Foo Cowboy” and the aching punk rockabilly “Magdalena 83” are now streaming, alongside a previously unheard demo of “Kung Foo Cowboy” available exclusively as part of the Alan Vega Deluxe Edition. These follow the earlier reveals of remastered ‘Alan Vega’ track “Ice Drummer,” accompanied by a video created by Douglas Hart of The Jesus & Mary Chain, and “Outlaw” from ‘Collision Drive.’ All three packages feature new artwork designed by Jared Artaud and Michael Handis, plus unseen photos and Vega’s original track sheets from his 1978 Suicide/The Clash Tour Notebook.
‘Alan Vega’ arrived in 1980 at the same moment Suicide released their second album, ‘Suicide: Alan Vega and Martin Rev.’ Vega wanted to dig deeper into his own sonic identity, fueled by rockabilly, early rock and roll, and his enduring love for Elvis Presley. The album came together after Vega crossed paths with Phil Hawk, a young Texan artist who had tracked him down at a party at the Drawing Center in New York after seeing him perform with a boombox at Max’s Kansas City. Vega described Hawk as a “blonde Elvis” and was immediately drawn to his raw, intuitive playing style.
Vega arranged and produced the entire record himself, deconstructing the drums by recording each part individually and combining electronic and acoustic sounds played live. He directed Hawk on specific guitar riffs until he found exactly the sound he was after. The result was a fiercely singular album, minimal and maximal at once, rooted entirely in Vega’s artistic vision. ‘Alan Vega’ includes the timeless “Jukebox Babe,” the blues-soaked “Kung Foo Cowboy,” and the melodic yet plaintive “Ice Drummer,” with its marching drums and tasteful harmonica solo.
‘Collision Drive’ followed in 1981, recorded in the same New York studio as its predecessor. Where the debut was a minimalist masterpiece, this record pushed further, ditching drum machines for a live drummer and enlisting a hard rock band to expand Vega’s palette. “Alan was always reinventing himself,” says Jared Artaud, co-producer and creative director of The Vega Vault Project. “Sonically, this album is more dynamic than his first. ‘Collision Drive’ offered a different view of Vega’s artistic vision.” The album channels street life, science fiction, politics, comics, love, and the mysteries of the universe, from the fiery political fury of “Viet Vet” to the proto-punk mantra of “Ghost Rider.” Its track “Outlaw,” with its cry of “more more more, more for the poor,” is said to have directly inspired Billy Idol’s iconic refrain in “Rebel Yell.”
Liz Lamere, Vega’s longtime collaborator, wife, and the leader and co-producer of The Vega Vault Project, speaks to what made his work endure. “Alan’s music thrived on interpretation. He believed the meaning of his songs belonged to the listener. His lyrics painted emotional and conceptual landscapes but he resisted explaining them. He always wanted the listener to bring their own experiences, imaginations, and emotions into what listening to his music and words meant to them, and ultimately that openness is part of its power.” That philosophy runs through every note of both records and speaks directly to why they have remained cult cornerstones of outsider rock for more than four decades.
Vega’s debut set off a ripple effect in New York’s music scene that reached far beyond the underground. Mark Ronson, Jim Jarmusch, LCD Soundsystem, Trent Reznor, Bruce Springsteen, The Flaming Lips, Billy Idol, and countless others have cited his solo work as a direct influence. These reissues recapture his raw, electrifying vision at its most uncompromising, making both albums essential listening for anyone serious about the roots of art-punk and experimental pop.