Alison Krauss & Union Station - So Long So Wrong (2LP, Ultra Analog, Half-speed Mastering, 45 tours)
Prix habituel
€95,00
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
Temps moyen d'expédition : 2 à 4 jours ouvrés. L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Alison Krauss – vocal, fiddle
Dan Tyminski – guitar, bass, vocals
Ron Block – guitar, banjo, vocals
Barry Bales – bass, vocals
Adam Steffey – mandolin, mandola, vocals
2 LPs, gatefold sleeve
Limited numbered edition
Original analog Master tape : YES
Half-speed Mastering
Gain 2™ Ultra Analog
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Rounder Records
Engineered by Gary Paczosa
Produced by AKUS
Remastered by Paul Stubblebine
Originally released in 1997
Reissued in 2004
Tracks:
Side A :
- So Long, So Wrong
- No Place to Hide
- Deeper Than Crying
- I Can Let Go Now
Side B :
- The Road Is a Lover
- Little Liza Jane
- It Doesn't Matter
- Find My Way Back to My Heart
Side C :
- I'll Remember You Love in My Prayers
- Looking in the Eyes of Love
- Pain of a Troubled Life
Side D :
- Happiness
- Blue Trail of Sorrow
- There Is a Reason
Awards:
So Long So Wrong won three Grammys: Best Country Performance by a Duo or Group with Vocal for "Looking in the Eyes of Love", Best Country Instrumental Performance for "Little Liza Jane", and Best Bluegrass Album.
TAS Audiophile Demo Disc!
Reviews :
"Led by ethereal songbird/fiddler Krauss, the natural acoustics and intricate harmonies of the bluegrass, roots, and mountain songbook don't get much better treatment than on this disc." - Neil Gader, TAS Guide to Audiophile Demo Disc pick, Spring 2011, Buyer's Guide, pg. 28
"After mainstream success happened for Alison Krauss & Union Station, one would have rightly expected a commercial sweetening of their sound, resulting in diminishing (or even abandoning) the simple but very unique thing that brought them into the public eye -- and eventual public acclaim -- in the first place. But the group's first new recording in the wake of the surprise success of Now That I've Found You: A Collection finds Alison Krauss & Union Station happily keeping their eclectic focus firmly on the prize stretched before them with no silly attempts to court the hat-hunk-of-the-month or the boot-scoot-boogie crowd. Despite the media's singling out of Krauss as country's new bluegrass solo diva, Union Station (with Krauss as simply a featured member of it) remains very much a group, and that's the real refreshing news here. It is that collective spirit that remains the reoccurring theme and the resounding musical point being made here, and it is the solid anchor that roots this album into place from beginning to end. Krauss' expert evocative way with a ballad is on full display here, with "Deeper Than Crying" and "It Doesn't Matter" featuring her on violas, adding a new voice to Union Station's sound. But the lead vocals are passed around among Krauss, mandolinist Adam Steffey, guitarist Dan Tyminski, and banjoist Ron Block, while Krauss' fiddle work in a backup capacity is an integral part of the sound as well. All in all, this is a totally un-gimmicky album that flies in the face of what usually happens when mainstream success comes calling. And, as a result of that commitment to quality and musical focus, one that makes you want to play it again when it's all over." AllMusic Review by Cub Koda
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 4 / 5 , Discogs : 4,34 / 5